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THE  STORY 


IN 


Primary  Instruction 


SIXTEEN  STORIES  AND  HOW  TO  USE  THEM 


SAMUEL  B.  ALLISON.  PH.  D. 

Principal  of  the  Walsh  School,  Chicago 


H.  AVIS  PERDUE 

Primary  Instructor,  Chicago  Normal  Practice  School 


A.  FLANAGAN  COMPANY 

CHICAGO 


Copyright   1902 
By  A.  Flanagan  Company 


TABLE  OF  CONTENTS. 

Paub 

INTRODUCTORY  DISCUSSION 5 

THB  STORY  IN  PBIMARY  INSTRUCTION 5 

1.  The  Mastery  of  a  Vocabulary  not  th«  Material  of  lustruction. 

2.  A  Wider  Circle  and  Purpoae,  Growing  out  of  the  Child's   Life  ami 

Needs 

3.  Lan^nago  Teaching. 

THE  8ELECTION  OP  THE  8UBJKCTIIATTER U 

1.  Phase  of  Mind  AotiTity  in  Early  Civilization. 

2.  A  Third  Element  of  the  Race  Products. 

3.  The  Legendary  and  the  Mythological  the  Child's  Natural  Food. 

4.  How  Are  We  to  Discriminate  as  to  the  Material  to  bo  3olecto<17 

5.  Narratives  Selected  and  the  Basis  of  Selection. 
t.  The  Four  Story  Groups. 

THB  PROBLEM  OF  CORRELATION 20 

8UQQBSTI0NS 23 

1.    The  Treatment. 


Reproduction. 
The  Preparation. 
Narration. 
The  Deepening. 
The  Nature  Material. 
Ethical  Material. 
Reading. 
Drawing,  Etc. 
Dramatieation. 
ConstructioB. 


SIXTEEN  ILLUSTRATIVE  STORIES 35 

THE  SEVEN  LITTLE  GOATS  35 

1.  The  Mother  Goat. 

2.  The  Wolf. 

S.    The  Wolf  in  the  House, 

4.  The  Mother  Goat's  Return. 

5.  Detail  of  Form  Work  (Diagram). 

THB  STARDOLLAR8 44 

1.  At  Home 

2.  In  the  Fields. 

3.  Id  the  Forest. 

LITTLE  RED  BIDING  HOOD 48 

1.  At  Home, 

2.  In  the  Woods. 

3.  At  Grandaiotber's  House. 

THE  SWEET  RICE  PORRIDGE 64 

1.  The  Little  Girl  and  her  Mother. 

2.  The  Wonderfnl  Rat. 

3.  The  Mother  Well  Again. 

4.  The  Flood  of  Bice. 

6.  The  Valley  FUled  Up. 

MOTHEB  FROST 83 

1.  The  Lost  Spindle. 

2.  The  Maid  in  the  Well. 
8.    The  Return  Home. 

4.    The  Idle  Maid. 

SNOW-WHITE  AND  ROSE-RED 70 

1.    The  Homo. 


■4z^oo7 


■  TABLE  OF  CONTENTS— Continued. 

1.  How  Snow-Whita  and  Rose-Red  Played. 

8.  The  Bear. 

4.  A  Dwarf  in  Trouble. 

6.  Tbe  Dwarf  Fisbin«. 

6.  The  Dwarf  and  an  Eagle. 

7.  The  Bear  Again 

THE  COCK  AND  THE  HEN 88 

1.  On  tho  Mountain. 

2.  The  Travelers. 

3.  At  the  Inn 

4.  The  Inukeeper. 

DEATH  OF  THE  COCK 89 

1.  rhe  Cock's  Death. 

2.  Tht  Funeral. 

3.  Crossing  the  River. 

BIRDIE  AVD  LENA S3 

1.  How  the  Hunter  Found  Birdie. 

2.  The  Cook 

3.  How  Birdie  was  Saved. 

4.  Th.'  Search 

5.  The  Servants  Go  A?ain  to  the  Forest. 

6.  The  Cook  Punished. 

THE  WOLF  AND  THE  FOX 102 

1.  At  the  Farm  Yard. 

2.  At  the  Farm  House. 

3.  In  the  Cellar. 

THE  STREET  MUSICIANS 107 

1.  How  the  Musicians  Came  Together. 

2.  In  the  Forest. 

3.  The  Robbers  Return. 

4.  Detail  of  Form  Work  (Diagram). 

THE  STRAW.  THE  COAL  AND  THE  BEAN 118 

X.    The  Meeting. 

2.    The  Journey. 
CINDERELLA        120 

1.  How  Cinderella  Qot  Her  Name. 

2.  The  Fair. 

3.  The  Ball. 

4.  How  Cinderella  Went  to  the  Ball. 

THE  WONDERFUL  TRAVELER l^ 

1.  TbeTravelar. 

2.  The  Kind  Man  Grants  Wishes. 

3.  The  Proud  Man  Overtakes  the  Traveler. 

4.  The  Proud  Man's  Wishes. 

HANS  AND  THE  FOUR  BIG  GIANTS 141 

1.  The  House  in  the  Country, 

2.  Leaving  Home. 

8.  Hans  in  the  City. 

4.  The  King's  Palace. 

5.  Hans  Starts  on  his  Journey. 

6.  Haas  Meets  Another  Giant. 

7.  Hans  Meets  a  Third  Giant. 

8.  Hans  Meets  a  Fourth  Giant. 

9.  How  Hans  Got  the  Necklace. 

THE  FIR  TREE  155 

1.  In  the  Forest. 

2.  The  Wood-Cutters. 

8.     Other  Trees  Go  from  the  For*st. 
4.    The  Fir  Tree  Has  its  Wish. 


INTRODUCTION. 


THE  STORY  IN  PRIMARY   INSTRUCTION. 

The  greatest  need  of  the  primary  school  to-day  is  some 
positive  content  or  subject  matter  of  instruction.  The  popular 
conception  of  such  a  school  is  that  its  main  function  is  to 
teach  the  young  child  to  read,  write,  and  cipher.  That  is, 
that  it  has  to  do  mainly  with  the  formal  aspects  of  language 
and  numbers.  So  long  as  a  certain  amount  of  facility  is  gained 
in  these  formal  arts,  there  is  little  disposition  to  demand  any- 
thing more. 

Even  so  great  an  authority  as  the  Committee  of  Fifteen 
has  championed  this  view,  and  has  given  as  its  deliberate  judg- 
ment that  the  first  four  years  of  school  life  should  be  devoted 
to  the  mastery  of  the  formal  phases  of  instruction.  While  it 
may  be  contended  that  it  is  not  meant  to  exclude  the  giving 
of  a  positive  subject  matter,  still  it  is  interpreted  as  sanction- 
ing the  present  obvious  over-emphasis  of  the  formal  side  of 
language  in  our  primary  schools. 

A  strict  conformity  to  this  formal  program  would  mean 
that  the  first  four  years  of  school  life,  the  most  impressionable 

5 


6  THE  STORY  IN  PRIMARY  INSTRUCTION. 

period  in  the  pupil's  school  career,  are  to  be  empty  of  any 
real  subject  matter.  The  mastery  of  written  and  printed  forms 
is  to  be  set  up  as  an  end  in  itself,  losing  sight  of  the  fact 
that  they  are  but  means  for  conveying  the  thought,  feelings, 
experiences,  and  aspirations  of  the  race  from  one  generation 
to  another. 

When  we  consider  what  the  child  at  the  age  of  six  or 
seven  really  is;  when  we  consider  his  love  of  story,  his  hunger 
for  the  concrete  material  of  knowledge,  his  deep  interest  in 
the  widening  of  his  experience, — it  is  evident  that  such  a 
course  is  out  of  all  harmony  with  his  real  nature.  It  is  the 
giving  of  stones  when  the  cry  is  for  bread.  It  is  even  worse 
than  the  proverbial  making  of  bricks  without  straw.  It  is 
attempting  to  make  bricks  with  straw  alone. 

THE  MASTERY  OF  A  VOCABULARY  NOT  THE  MATERIAL 
OF  INSTRUCTION. 

It  will  be  granted  that  the  mastery  of  a  printed  and  a 
written  vocabulary  is  of  the  utmost  importance.  As  a  sub- 
ordinate end,  the  ability  to  interpret  the  printed  page  and  to 
express  thought  in  correct  form  is  the  most,  imperative  de- 
mand upon  the  school.  But  these  acquirements  are  not  a  con- 
tent in  themselves.  They  are  not  the  material  of  instruction. 
In  themselves,  they  do  not  enlarge  the  understanding  or  fur- 
nish the  food  which  the  young  mind  hungers  for. — and  must 


INTRODUCTORY  DISCUSSION.  7 

have  if  it  is  maintained  in  a  condition  of  health.  They  are 
mere  forms,  and  the  dwelling  upon  them  during  the  impres- 
sionable years  of  childhood  results  in  a  deadening  of  his  inter- 
est and  dwarfing  of  his  powers,  so  that  the  over-emphasis 
of  this  phase  of  education  to  the  exclusion  of  content  defeats 
its  own  ends. 

Laying  the  foundation  for  a  future  character  edifice,  keep- 
ing active  the  developing  interests,  the  widening  of  his  experi- 
ence, the  formation  of  interpretative  concepts, — these  are  of 
greater  value  from  the  point  of  view  of  language  mastery, 
even  of  its  spoken  and  written  forms,  than  the  persistent  drill 
in  its  formal  elements. 

Language  teaching  must  be  approached  from  the  content 
side  if  we  are  to  get  any  genuine  interest  in  the  overcoming 
of  difficulties  on  the  part  of  the  child.  There  is  no  interest 
for  the  child  in  the  language  forms  themselves  when  presented 
in  abstraction  and  emphasized  as  such.  He  may  be  drilled 
into  proficiency,  but  the  interest  does  not  come  from  the  rela- 
tion of  these  formal  elements  to  his  own  needs  or  activity. 
The  interest  has  been  external  and  it  flags  as  soon  as  the 
external  excitement  is  withdrawn.  A  genuine  interest,  an 
intrinsic  one  growing  out  of  his  own  needs  and  nature,  can 
be  fostered  only  by  supplying  a  subject  matter  adapted  to 
the  various  levels  of  thought  through  which  his  development 
leads  him.     If  this  is  furnished,  it  is  no  partial,  intermittent 


8  THE  STORY  IN  PRIMARY  INSTRUCTION. 

attention  that  the  pupil  gives.  While  dealing  with  such  a  con- 
tent he  is  not  forming  the  habit  of  mind-wandering  and  inat- 
tention so  frequently  seen  when  children  are  kept  closely  to 
word  drill  and  to  reading  for  elocutionary  purposes. 

A  WIDER  CIRCLE  AND  PURPOSE,  GROWING  OUT  OF  THE 
CHILD'S  LIFE  AND  NEEDS. 

The  possession  of  a  wide  acquaintance  with  the  standard 
subject  matter  of  child  literature  before  serious  attempts  at 
learning  to  read  are  made,  will  subordinate  the  acquisition  of 
a  reading  vocabulary  as  means  to  an  end  desired  on  the  part 
of  the  child.  There  will  be  purpose  in  it  for  him.  The  learn- 
ing to  read  will  be  seen  as  a  step  necessary  to  a  fuller  expres- 
sion of  activities  already  going  on,  and  difficulties  will  be  over- 
come because  their  mastery  is  a  means  in  a  wider  circle  of 
purpose  growing  out  of  the  child's  own  life  and  needs.  If, 
in  early  years,  the  emphasis  is  removed  from  the  form  to  the 
content  side  of  instruction,  if  his  native  hunger  for  folklore 
and  nature-material  is  satisfied,  the  learning  to  read  will  be 
lifted  out  of  drudgery  and  will  be  accomplished  with  self-efifort, 
and  with  a  rapidity  truly  surprising. 

The  early  forcing  of  technique  is  not  a  real  gain  in  the 
child's  education,  however  much  may  be  apparently  accom- 
plished. Immediate  results  are  not  a  safe  guide  for  instruction 
in  the  primary  grades.    They  are,  many  times,  a  positive  loss 


INTRODUCTORY  DISCUSSION.  9 

in  time,  and  are  gained  at  the  expense  of  dwarfing  the  mental 
and  physical  powers.  There  is  no  real  need  of  forcing  the 
process  of  learning  to  read  if  the  teacher  is  ready  with  a  sub- 
ject matter  which  the  child  is  already  going  out  to  meet. 

The  time  of  the  first  year  of  school  life  would  conduce  far 
more  to  the  child's  progress  if  spent  with  learning  to  read 
and  write  as  a  secondary  consideration,  and  the  giving  of  a 
real  body  of  culture,  ethical,  and  nature  material  as  a  main 
purpose.  Subsequent  progress  would  be  all  the  more  rapid 
and  instruction  be  all  the  more  educative  because  a  wider 
range  of  interest  would  call  forth  self-active  participation  of  all 
the  powers.  The  widening  of  experience  and  the  formation 
of  interpretative  concepts  would  allow  further  instruction  to 
be  grasped  with  sufficient  avidity  to  carry  it  over  into  actual 
assimilation  into  the  self. 

LANGUAGE   TEACHING. 

What  has  been  said  with  regard  to  the  relation  of  reading 
to  a  content  is  equally  true  with  regard  to  what  is  known  as 
language  teaching.  It  is  a  hopeless  task  to  endeavor  to  give 
skill  in  the  use  of  language  independent  of  a  content  which 
is  not  in  accord  with  the  pupil's  own  stage  of  development. 
The  interest,  to  be  genuine,  and  productive  of  self-effort,  must 
always  be  in  the  content.  An  enrichment  of  his  vocabulary, 
a  proper  use  of  words,  correct  form  of  oral  and  written  speech 


10  THE  STORY  IN  PRIMARY  INSTRUCTION. 

must  come,  not  for  themselves,  but  as  results  of  an  effort  to  the 
adequate  expression  of  something  which  the  pupil  is  interested 
to  communicate. 

The  widespread  criticism  directed  against  the  results  of  lan- 
guage teaching  in  our  schools  no  doubt  has  something  of  justi- 
fication. This  defect  does  not  come  from  lack  of  attention  to 
the  matter,  or  from  indifference  on  the  part  of  the  teachers, 
but  largely  from  the  over-emphasis  of  the  purely  formal  as- 
pects of  language.  The  matter  is  approached  from  the  wrong 
side.  In  early  years,  to  get  form  we  must  emphasize  content. 
In  the  primary  grades,  formal  insistence  on  correct  technique 
should  be  at  the  minimum,  while  richness  and  variety  of  sub- 
ject matter  should  be  at  the  maximum. 

Nor  is  this  without  application  to  the  remaining  forms  of 
language  expression, — drawing  and  music.  Skill  in  aesthetic 
forms  can  come  only  from  an  interest  in  something  to  be 
expressed  in  these  forms. 

When  we  consider  that  the  child,  up  to  the  eighth  or 
ninth  year  of  his  life,  has  not  a  sufficient  mastery  of  a  read- 
ing vocabulary  to  enable  him  to  get  for  himself  out  of  bookf 
material  for  which  he  has  deepest  need,  and  which  is  his  nat- 
ural and  proper  nourishment,  the  imparting  to  him  orally  such 
material  assumes  an  aspect  of  gravest  importance.  Shall  his 
early  years  of  school  life  be  barren  and  empty?  Surely  the 
teacher  has  a  duty  in  this  respect  beyond  giving  merely  formal 


^ 


INTRODUCTORY  DISCUSSION.  11 

instruction.  She  should  not  allow  the  pressure  for  immediate 
technical  results  to  deprive  the  child  of  his  inheritance  in  the 
folklore  and  the  epic  treasures  of  the  race. 

It  has  been  shown  by  experiment  that,  with  young  children, 
instruction  is  taken  more  readily  through  the  ear  than  through 
the  eye.  Their  pre-school  education  has  been  acquired  largely 
through  auditory  impressions  and  exists  in  the  mind  in  the 
form  of  auditory  images.  To  throw  the  emphasis  at  once  on 
visual  impression  and  imagery  is  too  violent  a  break  in  their 
mental  habits. 


11. 


THE  SELECTION  OF  THE   SUBJECT-MATTER. 

The  kind  of  content  proper  to  early  childhood  is  deter- 
mined by  the  nature  of  the  child  himself.  It  is  the  child  that 
is  to  be  educated.  The  teacher  must  take  him  as  he  is,  with 
full  trust  that  the  strengthening  of  those  powers  at  present 
active  will  result  in  his  highest  good.  All  attempts  to  improve 
on  nature  has  been  abortive.  Every  normal  child  is  active  in 
those  ways  which  the  race  experience  has  embedded  in  him. 
His  activities  are  echoes  of  those  by  which  the  race  has  been 
successful.  The  conception  of  the  child  standing  over  against 
the  real  subject  matter  of  education  and  in  direct  antagonism 


12  THE  SrORV  IN  PRIMARY  INSTRUCTION. 

to  it,  between  which  and  him  there  is  no  intrinsic  relation  and 
into  which  he  must  be  introduced  by  external  means,  is  not  in 
harmony  with  an  optimistic  philosophy  or  with  a  correct  un- 
derstanding of  pedagogical  principles. 

There  must  be,  in  the  nature  of  things,  a  relation  between 
the  activities  already  functioning  in  the  child  and  the  material 
the  assimilation  of  which  will  constitute  him  not  only  a  thor- 
oughly equipped  individual  but  also  a  socially  efficient  factor. 
It  is  a  mistaken  view  to  suppose  that  the  exercise  and  the 
development  of  the  activities  dominant  in  early  childhood  will 
lead  away  from  the  best  interests  of  the  individual  or  endan- 
ger his  efficiency  as  a  member  of  society.  It  is  anomalous  to 
assume  that  the  impulses  and  interests  of  childhood  must  be 
suppressed  or  eradicated  in  order  to  fit  him  for  participation 
in  social  life.  These  impulses  have  been  implanted  in  his 
nature  by  actual  participation  in  a  social  life  on  the  part 
of  his  ancestry,  and  they  are  the  possibilities  of  a  worthy  social 
development. 

While  this  is  true,  while  the  determining  factor  in  the  selec- 
tion and  arrangement  of  the  subject-matter  of  education  is 
the  child  himself,  yet  the  undoubted  parallelism  between  his 
growth  and  that  of  the  race  widens  the  scope  and  furnishes 
the  broader  basis  for  such  selection  and  arrangement.  It  mat- 
ters little  to  what  extent  such  a  parallelism  is  accepted.  The 
principle  once  established  makes  it  a  matter  of  indifference 


INTRODUCTORY  DISCUSSION.  13 

whether  we  proceed  from  the  individual  or  from  the  broader 
standpoint  of  the  psychological  history  of  the  race.  This 
psychological  history  is  made  out  by  a  study  of  the  literature 
products  left  behind  in  the  ascent  from  the  lower  levels  of 
development  to  the  higher,  as  represented  in  modern  civiliza- 
tion. 

PHASE  OF  MIND  ACTIVITY  IN  EARLY  CIVILIZATION. 

A  survey  of  the  literary  remains  of  the  past  gives  con- 
clusive proof  that  the  characteristic  phase  of  mind  activity  in 
the  dawning  periods  of  civilization  is  the  imaginative  or 
mythical.  The  earliest  literary  product  of  every  people  is  the 
epic,  whose  chief  elements  are  legends,  myths  and  the  heroic, 
and  whose  authorship  is  not  individual  but  of  the  race  itself. 
Such  a  product,  not  the  creation  of  any  one  mind,  but  slowly 
fashioned  through  the  centuries  by  the  poetic  genius  of  the 
race,  however  trivial  it  may  seem,  has  strong  claims  on  our 
deepest  veneration.  It  should  receive  most  careful  study  and 
consideration. 

These  epic  remains  come  from  the  innermost  life  of  a 
people.  They  are  the  expression  of  this  life.  They  are  elo- 
quent witnesses  of  a  strong  imagination  dealing  with  the  mys- 
teries of  earth,  of  sky,  and  of  life  itself.  They  tell  of  the  morn- 
ing of  history,  when  man  was  close  to  nature — a  part  of  nature. 
The  earth,  trees,  waters,  animals — all  forms,  animate  and  in- 


U  THE  STORY  IN  PRIMARY  INSTRUCTION. 

animate,  had  voices  for  him.     He  communed  with  them.    He 
treated  them  as  of  equal  rank  with  himself. 

A  THIRD  ELEMENT  OF  THE  RACE  PRODUCTS. 

But,  in  addition  to  their  imaginative  character  and  their 
closeness  to  nature,  these  race  products  have  still  a  third  ele- 
ment of  the  utmost  value  for  use  as  material  for  primary  in- 
struction. While  they  "enforce  no  moral"  they  tell  "a  story, 
and  the  moral  in  solution  with  the  story."  Each  tale  is  a  nar- 
ration without  comment.  The  ethical  teaching  involved  is  in 
the  most  concrete  form.  It  is  not  set  out  and  emphasized, 
but  lies  wrapped  up  in  the  movement  of  the  narrative  itself 
and  awaits  the  exercise  of  the  child's  ethical  judgment. 

Viewed  from  our  ethical  standpoint,  folklore  does  not  al- 
ways come  up  to  the  highest  standard.  There  are  objection- 
able features  in  many  tales.  In  this  respect  they  reflect  the 
uncritical  and  even  crude  morals  of  the  time.  While  this  is 
true  of  some  of  the  tales,  in  many  the  ethical  teaching  is  pure, 
lofty  and  wholesome,  and  furnishes  an  element  greatly  needed 
in  our  primary  schools.  We  have  here  held  up  for  esteem  and 
veneration  these  virtues  of  head  and  heart  and  action  that  lie 
at  the  base  of  a  happy,  considerate  and  industrious  home  life. 
Baseness,  cruelty,  ingratitude,  and  laziness  are  brought  home 
to  the  individual  in  their  consequences.     The  corresponding 


INTRODUCTORY  DISCUSSION.  15 

virtues  are  shown  in  their  true  relation  to  happiness  and  well 
being.  This  may  not  be  the  highest  form  of  ethical  activity, 
but  it  is  the  only  kind  of  ethical  teaching  on  a  level  with  child 
thought.  The  morality  of  the  stories  is  set  forth  in  the  con- 
crete as  a  principle  of  action  found  valuable  in  the  race's  his- 
tory. 

That  such  a  content  is  a  great  desideratum  for  purposes  of 
ethical  instruction  in  our  schools  all  will  admit.  The  condi- 
tion of  religious  thought  is  such  as  to  preclude  the  use  of 
sacred  literature.  Perhaps  it  would  not  afford  so  many  advan- 
tages for  purposes  of  ethical  teaching  in  the  first  year  of  school 
life  as  literature  closer  to  the  childhood  of  the  race  in  its  origin. 
Some  subject-matter  that  affords  opportunity  for  the  exercise 
of  the  ethical  judgment  is  an  imperative  demand  for  our  time. 
What  is  there  more  suitable  than  this  embalmed  judgment  of 
the  race  as  to  what  is  valuable  in  conduct  and  character? 
Here  are  stored  up  in  a  form  that  appeals  to  the  child  material 
for  generalizations  as  to  the  conditions  of  well-being  and  of 
happiness,  as  well  as  of  a  moral  and  a  useful  life.  All  that  the 
race  has  thought,  felt,  and  experienced  is  here  at  the  service 
of  the  child.  One  is  almost  tempted  to  use  the  expression  of 
Hegel  and  say  that,  in  assimilating  the  ethical  teaching  of  these 
racial  literatures,  the  child  is  being  suckled  at  the  breast  of  the 
Universal  Ethos. 


16  THE  STORY  IN  PRIMARY  INSTRUCTION. 

THE  LEGENDARY  AND  THE  MYTHOLOGICAL  THE  CHILD'S 
NATURAL  FOOD. 

Even  to  casual  observation  there  is  close  correspondenc 
between  child  nature  and  the  characteristics  of  the  early  liter 
ature  of  the  race.  Children  are  wholly  in  the  imaginative  o 
mythical  level  of  thought.  They  are  immersed  in  the  sensu 
ous.  They  refuse  to  be  bound  by  the  hard  matter  of  fact 
They  will  away  and  claim  the  world  as  their  own  througl 
which  to  roam  on  the  unfettered  wing  of  fancy.  They  clain 
freedom  to  construct  their  own  world  and  to  people  it  witl 
creatures  of  their  own  fabrication,  independent  of  the  shackle 
of  time  and  space. 

The  child  also  feels  himself  a  part  of  nature,  not  as  some- 
thing standing  over  against  it.  The  separation  has  not  yel 
come.  He  ascribes  an  equal  and  like  personality  to  animate 
and  inanimate  objects.  He  is  at  home  among  animals  and 
plants.  There  is  spontaneous  interest  in  all  phases  of  nature, 
and  inborn  love  for  her  creatures;  and  as  to  the  ethical  ele- 
ment, the  child  is  not  without  points  of  contact  for  it.  He  is 
bom  with  social  impulses.  He  is  not  only  to  be  a  social  crea- 
ture, but  is  one  at  all  stages  of  development.  He  is  nothing 
if  not  social.  The  fiction  of  original,  independent  individual- 
ity which  must  be  thrown  off,  given  up,  or  eradicated  before 
becoming  a  social  being,  is  fast  giving  way  to  the  natural  or 


INTRODUCTORY  DISCUSSION.  17 

organic  theories  of  social  origin  and  growth.  The  very  im- 
pulses which  are  sometimes  cited  to  show  the  natural  depravity 
of  childhood  are  the  vigorous  reaching  out  of ,  his  nature 
toward  a  participation  in  the  social  life. 

Thus  there  can  be  little  doubt  as  to  the  fitness  of  legendary 
and  mythological  material  for  the  needs  of  the  child.  It  is  his 
natural  food.  It  fits  in  with  his  forms  of  thought — is  in  obvi- 
ous relation  to  them.  It  meets  the  needs  of  activities  already 
functioning.  It  discloses  a  world  in  which  he  can  be  at  home. 
It  falls  in  with  his  interpretation  of  this  world,  while  the  simple 
social  life  therein  depicted  appeals  to  his  interest. 

HOW  ARE  WE  TO  DISCRIMINATE  AS  TO  MATERIAL  TO  BE 
SELECTED? 

If  this  position  is  granted,  how  then,  out  of  the  vast  richness 
of  the  material,  are  particular  selections  to  be  made?  What 
principles  should  govern  in  our  choice?  As  already  hinted 
there  are  degrees  of  value,  for  purposes  of  instruction,  in  the 
immense  treasury  of  folklore,  myth  and  fable.  It  will  be  read- 
ily conceded  that  what  is  known  as  folklore  has  qualities  ren- 
dering it  of  greatest  value,  for  the  first  years  of  school  Hfe.  It 
is  simple  and  direct.  Its  conception  of  the  world  is  that  of 
pure  naturalism.  The  formal  myth  and  fable  belong  to  later 
stages  of  mental  development.  The  fable,  too,  has  the  objec- 
tion of  being  explicitly  didactic  in  its  enforcement  of  the  moral. 


18  THE  STORY  IN  PRIMARY  INSTRUCTION. 

NARRATIVES   SELECTED  AND  THE   BASIS   OF  SELECTION. 

in  the  following  narratives,  for  the  most  part  consisting  of 
German  Mdrchen,  the  principles  of  selection  given  below  have 
been  kept  in  mind: 

1.  The  story  must  be  simple,  direct,  and  imaginative. 

2.  It  must  have  strong  ethical  significance  and  must  avoid 
cruel  situations.  Stories  dealing  with  happy  home  life — em- 
phasizing industry,  thrift,  and  usefulness — are  to  be  given 
preference. 

3.  It  must  offer  a  content  rich  in  social  allusion,  in  out- 
door life,  and  in  references  to  natural  objects,  animate  and 
inanimate. 

4.  It  should  be  of  such  abiding  worth  that  it  will  bear 
repetition  and  hold  interest. 

5.  It  must  be  dramatic;  that  is,  there  should  be  move- 
ment, activity,  dialogue,  interesting  and  even  humorous  in- 
cidents, but  all  subordinate  to  a  central  unity.  Only  such  a 
dramatic  unity  can  work  a  deep  and  lasting  impression. 

These  principles  of  selection  are  in  the  main  those  enun- 
ciated by  William  Rein  in  his  excellent  manual.  Das  Erste 
Schuljahr,  a  book  with  which  every  primary  teacher  should 
be  familiar.  The  stories  here  presented  have  the  sanction  of 
such  eminent  students  of  pedagogy  as  William  Rein,  Ziller, 


INTRODUCTORY  DISCUSSION.  19 

Just,  and  Hiemish — all  leaders  of  educational  thoup^lit  in  Ger- 
many. 

The  text  of  the  first  fourteen  tales  has  been  translated  with 
a  few  adaptations  from  the  German  of  Hiemish,  as  found  in 
his  Das  Gesinmmgsunterricht.  To  these  have  been  added 
Andersen's  Fir  Tree  and  Miss  Harrison's  Hans  and  the  Four 
Big  Giants. 

The  order  here  given  is  not  essential,  but  on  the  whole  it 
will  be  found  a  rational  one.  The  succession  could  be  deter- 
mined by  many  points  of  view.  The  one  here  chosen  is  that 
of  relation  to  home  life.  The  series  begins  with  the  simplest 
home  relations  of  parents  and  brother  and  sister.  It  gradu- 
ally broadens  into  the  wider  circle  of  companionship,  and  con- 
tact with  the  world  external  to  the  home.  It  culminates  in 
Miss  Harrison's  fine  story,  Hans  and  the  Four  Big  Giants, 
where  the  separation  from  home  is  complete  and  the  child  is 
brought  into  contact  with  the  highest  industrial  and  scientific 
phases  of  modern  civilization.  Transition  from  the  more 
simple  situations  to  the  more  complex  and  longer  narratives 
have  also  been  kept  in  mind. 

THE  FOUR  STORY  GROUPS. 

Thus  the  stories  fall  into  four  groups.  The  First  Group 
comprises  The  Seven  Little  Goats,  The  Star  Dollars,  Red  Rid- 
ing Hood,  Szveet  Rice  Porridge,  Mother  Frost,  and  Rose-Red 


20  THE  STORY  IN  PRIMARY  INSTRUCTION. 

and  Snow-White .  These  stories  are  confined  chiefly  to  the 
home  circle  and  deal  with  the  relation  of  parent  and  child. 

The  Second  Group  is  The  Cock  and  the  Hen,  The  Death  of 
the  Cock,  and  Birdie  and  Lena.  These  are  partly  inside  and 
partly  outside  the  family  circle.  There  is  contact  with  persons 
outside  the  home. 

The  Third  Group  is  The  Wolf  and  the  Fox,  The  Street 
Musicians,  The  Straw,  The  Coal  and  the  Bean,  The  Wonderful 
Traveler,  and  Cinderella.  This  group  extends  the  relationship 
further  into  the  external  world. 

Lastly,  in  the  story  of  Hans  and  the  Four  Big  Giants,  the 
horizon  is  widened  so  as  to  include  the  separation  from  the 
home  and  an  independent  career  among  strangers.  The  Fir 
Tree  is  added  for  use  as  a  Christmas  story  for  those  who  desire 
it.  In  fact,  many  of  the  stories  could  be  taken  out  of  their 
order  and  be  used  as  introductions  to  the  study  of  the  seasons. 
The  Cock  and  the  Hen  is  an  autumn  story,  while  several 
others  might  be  used  as  dealing  with  spring  time. 


III. 


THE   PROBLEM   OF  CORRELATION. 

The  two  chief  problems  of  educational  practice  concern 
the  selection  and  the  arrangernent  or  organization  of  the  edu- 


INTRODUCrORV  DISCUSSION.  21 

cative  material.  The  problem  of  the  organization  of  the  sub- 
ject-matter is  spoken  of  as  Correlation  or  Concentration.  Any 
proposal  silent  on  this  point  would  not  be  adequate  to  the 
best  school  thought  or  practice  of  the  hour. 

The  main  contention  over  this  question  hinges  on  what 
subject  should  be  taken  as  a  center  around  which  other  lines 
of  instruction  should  be  gathered.  Against  the  proposition  to 
use  the  historical  or  culture-historical  material  as  such  a  center 
objections  can  easily  be  raised.  It  will  be  granted  that  it  does 
not  ofifer  an  ideal  point  of  departure  for  all  the  activities  of  even 
the  primary  school.  It  will  be  granted  further  that  such  a 
center  is  not  the  true  center  of  the  social  life.  It  is  liable  to 
over-emphasize  the  purely-  intellectual  side  of  instruction  at 
the  expense  of  the  volitional  phases,  and  it  cannot  be  a  center 
for  the  correlation  of  number. 

But  mathematics  and  literature  do  not  correlate.  Arith- 
metic and  formal  science  have  arisen  in  dealing  with  the  prac- 
tical problems  of  industrial  processes.  They  are  forms  which 
industrial  processes  have  taken  on.  There  are  some  reason- 
able objections  to  the  correlation  of  what  is  called  "Construc- 
tion Work"  with  this  literature  material. 

But,  on  the  whole,  the  narrative,  or  story,  ofifers,  under 
present  conditions,  the  only  practicable  center  for  correlation 
in  the  first  school  year.    Especially  since,  at  this  period,  formal 


2'i  THE  STORY  IX  rRlMAKY  IS  STRICT  ION. 

number  work  and  science  proper  are  at  their  minimum.  For 
the  langm.ae  arts, — reading,  writing,  spelling,  exercises  in  oral 
speech, — it  is  the  natural  medium.  The  aesthetic  arts, — draw- 
ing and  music — and  even  construction  work,  can  be  corre- 
lated here  without  undue  violence  to  instruction  as  an  organic 
unity.  This  material,  too,  furnishes  at  least  a  point  of  depar- 
ture for  what  is  known  as  nature  study.  It  will  find  abundant 
inspiration  in  the  animals,  plants,  and  natural  objects  alluded 
to. 

From  what  has  been  said,  it  will  be  seen  that  the  stories  are 
to  be  used  as  a  medium  of  instruction,  not  just  told  and  en- 
joyed. They  are  to  be  regarded  as  subject-matter  to  be  assim 
ilated  and  expressed.  They  provide  a  content  by  means  of 
which  the  various  school  arts  may  reverse  their  usual  direc- 
tion and  become,  so  to  speak,  centrifugal — the  spontaneous 
outflowing  of  the  self. 

Merely  telling  the  story  does  not  exhaust  its  possibilities. 
It  should  be  made  a  means  for  the  exercise  of  the  entire  round 
of  childish  activities.  Unless  the  understanding  is  enlarged, 
the  sympathies  widened,  the  ethical  sense  deepened,  and  steady 
advance  made  in  all  lines  of  technique,  the  teacher  will  miss  the 
true  aim. 


I 


INrRODUCTOKY  DISCUSSION.  23 

IV. 

SUGGESTIONS. 

The  manner  or  method  of  presenting  and  using  the  mate- 
rial is  based  largely  on  Herbart's  "Formal  Steps."  Though 
an  effort  has  been  made  to  get  away  from  their  rigidity,  no 
teacher  can  afford  to  become  hampered  by  the  requirements 
of  a  too  rigid  system  or  a  too  formal  method  of  instruction. 
Yet  there  must  always  be  a  consciousness  of  what  meets  the 
demands  of  educative  instruction.  Apperception,  or  learning, 
takes  place  under  certain  conditions  only.  These  conditions 
must  be  met. 

THE  TREATMENT. 

It  is  not  the  intention  to  give  a  list  of  set  questions  whose 
form  and  order  are  to  be  rigidly  followed.  It  is  difficult  to  fix 
upon  the  precise  point  where  such  questions  cease  to  be  help- 
ful and  suggestive  and  begin  to  trench  on  the  legitimate  prov- 
ince of  the  teacher.  In  order  to  avoid  this  unpardonable  sin, 
the  treatment  of  some  of  the  stories  has  been  elaborated  quite 
fully,  to  show  the  work  entire  as  it  has  been  given  to  children; 
while  that  of  others  has  been  outlined,  noting  only  the  main 
points  to  be  brought  out  and  leaving  the  form  of  presentation 
largely  to  the  teacher's  individuality. 


24  THE  STORY  IN  PRIMARY  INSTRUCTION. 

Nothing  can  take  the  place  of  originality  and  spontaneity. 
If  a  fixed  program  is  followed,  the  main  purpose  of  the  work 
will  be  missed  and  the  interest  for  both  teacher  and  children 
will  evaporate.  In  the  treatment  of  the  two  elements,  the 
ethical  and  the  nature  material  have  been  separated  from  each 
other  and  from  the  other  parts.  This  is  for  the  purpose  of 
emphasizing  them  in  the  teacher's  mind.  The  plan  need  not 
be  followed  in  the  actual  work.  Questions  and  explanations 
may  be  introduced  into  the  nai  ration  if  care  be  taken  that  the 
interruption  does  not  break  the  thread  of  the  story. 

There  has  been  no  attempt  to  divide  the  subject  into  les- 
sons. However,  the  preparation,  the  narration,  and  the  deep- 
ening should,  in  most  cases,  be  all  that  is  undertaken  in  one 
period  of  fifteen  minutes.  This  is  as  long  as  young  children 
should  be  kept  to  one  exercise.  If  this  is  done  in  the  morn- 
ing session,  the  reproduction  and  the  other  exercises  could 
come  in  the  afternoon  session. 

REPRODUCTION. 

A  child  learns  to  talk  fluently  and  with  correctness  by 
talking.  Oral  speech  should  come  before  written  speech.  If 
the  pupil  can  talk  in  good  English  with  ease  there  will  not  be 
much  trouble  with  written  expression.  To  this  end  there 
should  be  much  time  given  to  oral  reproduction  by  the  chil- 


INTRODUCTORY  DISCUSSION.  7o 

dren.  Even  the  most  backward  child  should  be  encouraged 
to  attempt  it.  There  will  be  a  strong  temptation  to  allow  the 
brilliant  story  tellers  to  do  most  of  the  reproducing.  Each 
child  should  be  thrown  wholly  on  his  own  responsibility.  Let 
him  tell  what  he  can  in  his  own  way  and  reserve  corrections 
until  he  is  done.  The  story  itself  should  be  kept  fluid.  It 
should  not  be  allowed  to  crystallize  into  set  phrases  on  the 
part  of  either  teacher  or  children.  Great  liberty  should  be 
allowed  in  reproduction,  so  that  freshness  and  spontaneity  may 
never  be  lacking.  The  reproduction  may  immediately  follow 
the  deepening  process  or  be  reserved  for  a  separate  period. 
It  should  be  given  from  the  beginning  frequently, 

THE  PREPARATION- 

It  is  well  to  give  the  aim  or  purpose  of  the  story  first.  This 
may  be  in  the  form  of  a  brief  outline  giving  the  general  direc- 
tion which  the  story  is  to  take.  Some  such  hint  seems  a  peda- 
gogical necessity.  Nothing  is  so  tiresome  to  an  adult,  even,  as 
to  listen  to  a  discourse  whose  aim  and  purpose  are  not  appar- 
ent. And  then  the  movement  as  a  whole  should  be  in  the 
mind  of  the  children  from  the  first. 

It  is  in  accordance  with  sound  pedagogy  to  bring  to  the 
foreground  of  consciousness  the  ideas  already  possessed  by 
the  children,  and  known  to  be  related  to  what  is  to  be  pre- 


26  THE  STORY  IN  PRIMARY  INSTRUCTION. 

sented.  The  new  is  learned  or  understood  (apperceived)  by 
the  old.  That  which  has  been  once  assimilated  enters  into 
and  modifies  old  concepts;  these  in  turn  classify  the  new 
material  and  reduce  it  to  order  and  unity.  It  is  therefore 
important  that,  before  a  story  is  told,  the  related  ideas  be 
brought  forward  ready  for  use  by  means  of  a  few  well  directed 
questions.  In  many  cases  the  proper  result  may  be  attained 
by  suggesting  a  difficulty  or  problem  for  the  children  to  solve. 

THE  NARRATION. 

After  the  preparation  follows  the  story.  It  should  be  given 
in  short  divisions.  Each  such  division  should  be  as  far  as 
possible  a  dramatic  unity,  subordinate  of  course  to  the  main 
one. 

The  story  should  be  told,  not  read.  Every  primary  teacher 
should  be  a  story  teller.  Anyone  that  has  felt  the  deep,  enthu- 
siastic response  of  children  to  a  story  well  told  will  feel  amply 
repaid  for  any  effort  to  cultivate  the  art  of  story  telling.  On 
this  point  few  suggestions  can  be  given.  The  main  elements 
of  good  story  telling  are  intrinsically  connected  with  the  emo- 
tional and  spiritual  endowments.  A  genuine  appreciation  of 
child-nature  must  be  combined  with  a  lively  and  emotional 
manner  of  expression. 


INTRODUCTORY  DISCUSSION.  27 

THE  DEEPENING. 

It  is  wise  in  most  cases  to  question  on  the  main  points  of 
the  narration.  This  fixes  them  in  the  children's  minds  so  that 
reproduction  of  the  story  will  more  readily  follow.  The 
amount  of  such  questioning  must  be  determined  by  the  needs 
v/f  the  class.  Only  the  main  points  should  be  dwelt  upon. 
.Vith  young  children  details  should  be  avoided. 

THE  NATURE-MATERIAL. 

The  best  way  to  widen  the  experience  of  children  is  to 
bring  them  into  actual  contact  with  things.  But,  as  organized 
and  carried  on  at  present,  the  school  can  do  very  little  of  this 
first-hand  teaching.  However,  at  school  age,  such  is  the  activ- 
ity of  childhood,  most  children  have  a  considerable  body  of 
nature  experience  which  can  be  used  as  interpretative  concepts 
for  new  and  similar  material.  Careful  teaching  will  always 
aim  to  discover  what  experience  the  individual  members  of 
a  class  have  had  in  order  that  inadequate  ideas  may  be 
strengthened  and  given  greater  detail.  This  may  be  done  by 
some  child's  telling  his  experience,  by  the  teacher  giving  the 
information — using  descriptions,  pictures  or  drawings, — or 
finally  by  proper  questioning.  '^ 

Starting  from  what  is  already  known,  a  skillful  teacher  can 
build  up  an  idea,  though  of  course  more  or  less  indefinite,  of 


28  THE  STORY  IN  PRIMARY  INSTRUCTION. 

the  object  or  process  that  is  comparatively  unknown.  Ques- 
tioning can  never  do  more  than  bring  into  explicitness  what 
is  really  in  the  mind  in  a  vague  way.  Yet,  when  we  consider 
that  the  possibilities  of  all  science  and,  in  fact,  of  all  knowl- 
edge, are  implicit  in  the  experiences  of  the  normal  child  of 
school  age,  it  is  seen  that  the  use  of  questions  as  an  educative 
means  is  practically  unlimited  and  that  it  should  not  be 
neglected  even  in  the  primary  grades. 

There  is  in  the  stories  an  abundance  of  nature-material  and 
of  material  bearing  on  industrial  occupations  and  processes 
that  may  serve,  when  properly  used,  as  an  excellent  basis  for 
mental  growth  in  these  directions.  In  making  sure  that  ideas 
along  these  lines  are  clear,  a  foundation  is  being  laid  for  a 
more  vital  grasping  of  geographical  instruction  later  on. 

The  old  object-lesson  was  an  effort  in  this  direction,  but 
its  formality  and  isolation  killed  it.  It  is  not  the  purpose  to 
recommend  formal  object  lessons.  The  main  purpose  should 
be  to  see  that  the  allusions  to  natural  objects  and  to  indus- 
trial occupations  and  processes  are  understood.  And  if  they 
are  not,  to  bring  them  into  adequate  clearness  by  proper 
instruction. 

THE  ETHICAL  MATERIAL. 

There  is  a  wide  difference,  so  far  as  method  is  concerned, 
between  setting  forth  the  moral  to  a  tale  in  an  explicit  way 


INTRODUCTORY  DISCUSSION.  ?9 

and  allowing  children  to  express  their  judgments  upon  con- 
crete facts  of  conduct.  The  latter  is  all  that  should  be 
attempted.  In  the  reaction  from  formal  moral  instruction 
there  is  danger  of  going  to  the  other  extreme  and  neglecting  it 
entirely. 

The  vital  element  in  literature — its  ultimate  raison  d'etre 
— is  its  ethical  import.  It  constitutes  the  ethical  medium.  It 
gives  each  child  the  benefit  of  the  experience  of  the  race.  The 
duty  of  the  school  to  give  occasion  for  the  exercise  of  ethical 
judgments  is  greater  than  its  duty  to  train  the  merely  intel- 
lectual judgment.  For  the  one  determines  what  is  good  or 
bad,  the  other  what  is  real  or  unreal.  Right  conduct  is  of 
more  importance  than  mere  knowing. 

READING. 

The  teaching  of  the  mechanics  of  reading  concerns  itself 
with  affixing  visual  images  of  words  to  the  auditory  vocabulary 
already  possessed  by  the  child.  As  this  is  a  purely  formal  pro- 
cess, having  little  educative  value  in  itself,  the  judicious  teacher 
will  welcome  any  suggestion  toward  minimizing  routine  drill. 
Instead  of  attempting  to  fix  the  visual  form  of  each  word, 
she  will  limit  the  formal  instruction  to  giving  the  child  a 
capability  of  deciphering  new  words  for  himself,  that  is,  of 
translating  them  into  motor  images  of  articulation.     Instruc- 


30  THE  STORY  IN  PRIMARY  INSTRUCTION. 

tion  that  does  not  give  to  the  child  this  capability  is  wasting 
time  and  misdirecting  energy. 

In  order  to  have  facility  in  the  mastering  of  new  words, 
it  is  necessary  that  there  be  a  knowledge  of  the  vocal  value 
of  the  letters  and  an  acquaintance  with  the  groups  into  which 
words  may  be  separated  according  to  similarity  of  sound. 
Thus  daily  short  drills  upon  the  purely  formal  side  seems  a 
necessity.  This  should  be  done  in  a  separate  exercise,  how- 
ever. 

At  the  same  time  this  formal  process  should  not  be  wholly 
divorced  from  the  thought  side.  The  learner  should  be  able 
to  grasp  quickly  the  meaning  the  sentence  conveys  as  a  whole, 
and  to  give  it  natural  expression.  To  make  this  connection 
between  the  two  elements  as  close  as  possible,  the  sentences  to 
be  given  visual  form  should  be  taken  from  the  children  them- 
selves. These  can  be  written  on  the  board,  or  printed  in  large 
type  on  Manila  sheets  (forming  a  chart),*  or  in  ordinary  type 
on  slips  to  be  given  to  the  children. 

The  possession  by  the  class  of  the  common  subject-matter 
which  the  stories  supply,  renders  this  plan  feasible  and  always 
full  of  interest.  Knowledge  of  the  content  will  reinforce  the 
recognition  of  words  and  sentences  and  thus  make  progress  in 
acquiring  a  visual  vocabulary  rapid  and,  in  part,  unconscious. 
Moreover,  the  anticipation  of  the  meaning  of  what  is  about 

*  The  Flanagan  Chart  Outfit  is  vahiable  for  this  purpose. 


INTRODUCTORY  DISCUSSION.  3! 

to  be  read  will  result  in  a  natural  expression  of  it.  If  the 
child  has  even  a  provisional  grasp  of  the  meaning  of  the  whole 
sentence  before  attempting  to  read  it.  the  expression  will 
largely  take  care  of  itself.  Until  the  comprehension  of  the 
meaning  is  instantaneous,  there  should  always  be  a  preliminary 
study  of  the  sentence  to  be  read,  so  that  the  thought  as  a 
whole  may  at  least  be  foreshadowed  in  the  mind  of  the  child. 

In  this  way  there  is  a  vital  relation  between  reading  as  a 
formal  process  and  that  which  is  read.  This  obviates  the  neces- 
sity of  using  isolated  and  unfamiliar  topics  as  well  as  those 
having  no  value  in  themselves.  From  the  first  the  reading 
matter  should  have  value  for  the  child — be  related  to  his  stage 
of  thought  and  to  his  dominant  interests. 

DRAWING,  ETC. 

The  stories  are  an  excellent  source  from  which  to  draw 
material  for  expression  in  the  various  aesthetic  exercises — 
drawing,  paper  cutting,  modeling  clay,  or  dramatization. 
Whatever  the  form,  it  should  be  the  spontaneous  portrayal 
of  the  child's  own  imagery.  However  crude  the  product  may 
be,  if  it  is  a  genuine  attempt  at  such  expression,  it  has  the 
essential  element  of  an  aesthetic  creation  and  should  have 
our  respect  as  such.     With  a  very  little  instruction  in  putting 


32  THE  STORV  IN  PRIMARY  INSTRUCTION. 

on  sky  and  ground,  in  representing  distance,  progress  will  be 
rapid. 

Drawing  should  be  in  a  color  medium,  and  be  a  daily  exer- 
cise. Paper-cutting  is  of  absorbing  interest  to  children  and 
is  a  form  of  school  art  that  rapidly  gives  definiteness  to  the 
images  of  natural  objects.  It  brings  out  a  high  degree  of  man- 
ual dexterity  and  offers  almost  as  wide  a  scope  for  individual 
composition  as  drawing. 

These  exercises,  not  needing  the  teacher's  immediate  direc- 
tion, can  take  the  place  of  the  many  forms  of  meaningless 
"busy  work"  that  a  misdirected  ingenuity  has  devised  for  the 
purpose  of  keeping  children  "still." 

DRAMATIZATION. 

Another  form  to  which  the  stories  lend  themselves  readily 
is  dramatization.  Children  take  intense  delight  in  throwing 
striking  situations  into  dramatic  form.  This  exercise  also 
should  be  undirected.  If  the  story  has  not  become  crystallized 
into  set  phrases,  this  form  of  reproduction  becomes  a  genuine 
language  exercise. 

CONSTRUCTION. 

In  the  foregoing  we  have  examples  of  artistic  creation. 
There  is  a  spontaneous  impulse  toward  embodying  in  a  suit- 


ii 


INTRODUCTORY  DISCUSSION.  33 

Able  form  the  child's  own  imagery.  This  activity  goes  on  for 
its  own  sake;  it  gives  pleasure. 

In  construction  proper,  where  direction  is  given  and  ob- 
jects are  made  from  dictation  to  serve  a  useful  purpose,  we 
have  activity  passing  over  into  what  is  called  work.  This  side 
should  not  be  neglected.  Children  are  to  live  in  a  real  world, 
where  the  purpose  of  activity  is  not  always  in  the  activity  itself 
but  may  lie  in  something  external  to  it.  Things  have  to  be 
made  for  certain  definite  purposes  and  because  of  certain  needs. 
These  control  the  activity. 

While  it  may  be  admitted  that  the  stories  do  not  form  the 
ideal  connection  for  uniting  such  activity  with  the  whole,  yet, 
under  present  conditions,  they  offer  the  only  means  practi- 
cable. Children  will  take  a  deeper  interest  in  making  Red 
Riding  Hood's  basket  than  in  making  one  that  has  not  this 
ideal  environment. 

Attention  is  called  to  that  excellent  little  manual,  "Con- 
struction Work,"  by  Worst,  where  measurements  and  direc- 
tions can  be  found  for  the  construction  of  most  of  the  familiar 
articles  of  the  household. 


d 


» .1    I  .•, 


SIXTEEN  STORIES 


AND 


HOW  "TO  USK  THEM. 


THE  SEVEN  LITTLE  GOATS. 

I. 

Preparation. 

We  are  going  to  hear  a  story  of  a  mother  goat  who  left  her 
seven  little  ones  at  home  while  she  went  into  the  forest  to  get 
food  for  them. 

Who  has  not  seen  a  goat?  What  do  we  call  a  young  goat? 
What  kind  of  food  will  the  mother  goat  get? 

Have  you  ever  been  left  alone?  Were  you  not  told  how 
to  behave?  What  do  you  suppose  the  mother  goat  told  her 
little  ones  as  she  went  away?    Let  us  hear. 

35 


M  THE  STORY  IN  PRIMARY  INSTRUCTION. 

Narration. 

THE   MOTHER  GOAT. 

Once  there  lived  an  old  goat  who  had  seven  young  ones. 
She  loved  them  as  every  mother  loves  her  children.  One  day 
she  wished  to  go  into  the  forest  to  get  food  for  her  children. 
So,  calling  them  to  her,  she  said: 

"Dear  children,  I  am  going  into  the  forest  to  get  you  some- 
thing to  eat.  Now  be  on  your  gfuard  against  the  wolf;  for,  if 
he  comes  here,  he  will  eat  you  up.  But  you  will  know  him 
by  his  rough  voice  and  his  black  feet." 

The  little  goats  replied:  "Dear  mother,  we  will  be  very 
careful  and  pay  close  attention  to  what  you  say.  You  need 
not  be  at  all  anxious  about  us."  So  the  mother  bleated  a 
good-bye  and  ran  ofT  quite  contented. 

Model  Treatment, 

I      Why  was  the  mother  goat  going  to  the  forest  ? 

About  what  animal  did  she  tell  them  ? 

How  were  they  to  know  him  ?     Tell  what  the  little  goats  said  in  reply. 

Reproduction  by  the  children, 

2.  Where  have  you  seen  a  goat  ?  What  animal  does  the  goat  look  like  ? 
What  does  he  eat?  Where  does  he  live?  What  kind  of  a  voice  has  the 
goat  ?     What  kind  of  feet  has  he  ? 

Tell  what  you  know  about  a  forest  ?     What  is  found  in  a  forest  ? 

3.  Tell  what  the  goat  did  that  shows  she  was  a  kind  and  careful  mother  ? 
Who  cares  for  you  and  gives  you  food  and  clothing  and  sends  you  to 
school  ?    What  does  your  father  do  to  help  care  for  you  ?    Your  mother  ? 

Tell  the  promise  the  little  goats  made. 
Tell  how  you  think  they  acted. 


THE  SEl'EX  UiTLE  GOATS.  37 

11. 

Prei)aration, 

The  story  will  now  tell  us  how  the  wolf  came  and  tried  to 
get  into  the  house.    How  do  you  think  he  tried  to  get  in? 
Tell  how  he  might  get  in. 

Narration. 

THE   WOLF. 

« 

Not  long  after  the  mother  had  gone  the  little  goats  heard 
a  knock  at  the  door,  and  pretty  soon  a  deep,  rough  voice  said: 
"Open  the  door,  my  dear  children;  it  is  your  mother.  She 
has  brought  each  of  you  something  to  eat."  But  the  little 
goats  cried  out:  "You  are  not  our  mother.  You  have  a  great, 
rough  voice.    You  are  the  wolf." 

So  the  wolf  went  to  a  shop  near  by  where  he  bought  some 
chalk.  He  ate  this  and  it  made  his  voice  soft  and  fine.  Then 
he  came  back  and  knocked  again,  and  called  out  as  softly  as 
he  could,  "Open  the  door,  dear  children;  your  mother  has 
come  from  the  forest  and  wants  to  get  in." 

But  the  little  goats  were  still  afraid  and  said,  "Put  your 
feet  on  the  window-sill  so  that  we  can  see  them."  The  wolf 
did  so  and  they  at  once  cried  out,  "Oh!  you  are  not  our 


4zoo^ 


38  THE  STORY  IN  PRIMARY  INSTRUCTION. 

mother.     You  have  black  feet.     Yon  are  the  wicked  wolf." 
So  the  wolf  turned  and  went  away. 

Model  Treatment. 

1.  What  did  the  wolf  say  when  he  came  the  first  time  ?  How  did  the 
goats  know  him?  What  did  he  do?  How  did  the  goats  know  him  the 
second  time  he  came  ? 

Reproduction  of  the  story  from  the  beginning. 

2.  Where  does  the  wolf  live  ?  What  kind  of  home  has  he  ?  Is  he  a 
tame  animal  ?  What  kind  of  food  does  he  eat  ?  What  animal  does  he  look 
like ?     Is  his  voice  like  the  goat's?    Are  their  feet  alike ? 

3.  Have  the  little  goats  kept  their  promise  to  their  mother  ?  Do  you 
like  the  way  they  have  acted  ?    Do  you  like  the  way  the  wolf  acted  ? 


III. 


Preparation. 

The  story  now  tells  us  how  the  wolf  finally  got  into  the 
house  and  what  he  did  there. 

How  do  you  think  the  wolf  succeeded  in  deceiving  the 
goats?  How  did  he  change  his  voice?  Do  you  wish  to  hear 
what  the  wolf  next  did? 

What  do  you  think  he  did?  He  made  his  voice  soft  and 
loving  like  that  of  the  mother  goat.  Do  you  think  he  could 
make  his  feet  like  hers?    How  could  he? 

Let  us  hear  what  he  did  with  his  feet. 


4 


THE  SEl'EN  LITTLE  GOATS.  39 

Narration. 

THE   WOLF    IN    THE    HOUSE. 

The  wolf  did  not  know  now  what  to  do.  Presently  he 
thought,  "I  will  go  to  the  baker."  So  to  the  baker  he  went 
and  said,  "I  have  hurt  my  feet;  put  some  dough  on  them." 
The  baker  felt  sorry  for  the  wolf  and  put  some  dough  on  his 
feet. 

Then  the  wolf  ran  to  the  miller  and  in  a  rough  voice  said, 
"Strew  some  white  flour  on  my  feet."  The  miller,  thinking 
the  naughty  wolf  was  going  to  deceive  some  one,  did  not  want 
to  do  it.  But  the  wolf  said,  "If  you  do  not  do  so  at  once,  I 
will  eat  you."  This  made  the  miller  afraid.  So  he  powdered 
the  wolf's  feet  with  flour. 

This  done,  the  wolf  went  a  third  time  to  the  door  of  the 
house  and  said  softly,  "Open  the  door  for  me,  dear  children. 
It  is  your  mother.  I  have  come  back  and  brought  each  one 
of  you  something  nice  to  eat." 

But  the  little  goats  still  remembered  what  their  mother  had 
said  and  called  out,  "Show  us  your  feet  and  we  shall  know 
whether  you  are  our  mother  or  not."  The  wolf  put  his  feet 
in  the  window  as  before.  Now,  when  the  little  goats  saw  that 
the  feet  were  white,  they  thought  that  it  was  really  their  dear 
mother  and  opened  the  door. 


*)  THE  STORY  IX  PRIMARY  INSTRUCTION. 

But  who  should  walk  in  but  the  wicked  wolf!  The  little 
goats  were  terribly  frightened  and  each  one  ran  to  hide  him- 
self as  best  he  could.  One  ran  under  the  table,  the  second 
hid  in  the  bed,  a  third  jumped  into  the  oven,  a  fourth  slipped 
into  the  cupboard,  a  fifth  hid  in  the  back  kitchen  among  the 
pots  and  pans,  a  sixth  hid  under  the  wash-tub,  and  the  seventh 
hid  in  the  clock  case.  But  the  wolf  found  them  all  and  ate 
them  one  after  the  other, —  all  but  the  youngest  that  hid  in  the 
clock  case.    He  did  not  find  him. 

Then  he  said  to  himself,  "Well,  well!  I  am  tired.  I  must 
have  a  nap."  And  he  went  out  into  the  green  meadow  and 
lay  down  to  sleep  under  a  tree  by  a  little  brook. 

Model  Treatment. 

1 .  What  did  the  wolf  say  to  the  baker  ?  What  to  tV>e  miller  ?  How 
were  the  goats  deceived  ?  Where  did  each  one  hide  ?  Which  one  was 
saved? 

Reproduction  from  beginning. 

2.  Tell  what  the  baker  does  ?  The  miller  ?  Have  >  oa  seen  a  mill 
where  flour  is  made  ? 

How  is  flour  made?  What  grains  are  used  to  make  flour'  What  grains 
have  you  seen  growing?  What  name  do  we  give  to  the  perrons  that  raise 
grain  for  us  ? 

3.  Tell  why  the  baker  put  dough  on  the  wolf's  feet  ?  Why  did  the 
miller  put  flour  on  ?  Had  the  wolf  really  hurt  his  feet?  Desert  the  wolf's 
conduct.      What  do  you  think  of  him  ? 


THE  SEVEN  LITTLE  GOATS.  41 


IV. 


Preparation. 

We  shall  next  hear  about  the  mother  goat's  return  and 
about  how  she  felt  and  what  she  did. 

Tell  what  you  think  she  did. 

Can  you  think  of  any  way  she  could  get  her  dear  children 
again? 

Where  did  the  wolf  go?    What  did  he  do? 

Narration. 

THE  MOTHER  GOAT'S  RETURN. 

Well,  it  was  not  long  before  the  mother  goat  came  back 
from  the  forest  with  the  food  for  her  children.  When  she 
came  near  the  house,  what  a  sight  met  her  eyes!  The  door 
stood  wide  open.  The  table,  the  chairs  and  the  benches  were 
overturned.  The  dishes  were  broken.  The  quilts  and  pillows 
were  on  the  floor.  She  was  amazed.  She  looked  around,  but 
not  one  little  goat  could  she  see.  She  sought  for  them,  but 
not  one  could  she  find.  She  called  each  by  his  name,  but  no 
one  answered. 

Finally  she  heard  a  frightened  little  voice  call  out,  "Dear 
mother,  here  I  am,  hid  in  the  clock  case."    The  mother  goat 


42  THE  STORY  IN  PRIMARY  INSTRUCTION. 

opened  the  clock.  There,  sure  enough,  was  the  youngest 
little  goat.  As  soon  as  he  could  speak,  he  told  his  mother  what 
had  happened  and  how  the  wicked  wolf  had  swallowed  the 
other  little  goats. 

The  mother  goat  was  so  grieved  at  first  that  she  could  not 
think  what  to  do.  But  presently  she  ran  out,  followed  by  her 
youngest  child.  As  they  came  to  the  meadow  they  saw  the 
wolf  lying  under  the  tree  fast  asleep.  Then  the  mother 
thought,  "Perhaps  my  children  are  still  alive." 

She  sent  the  little  goat  to  the  house  to  fetch  a  pair  of 
shears,  a  needle,  and  some  thread.  She  cut  the  wolfs  body 
open  and  one  of  the  little  goats  peeped  out.  As  she  cut  far- 
ther, one  after  another  the  six  little  goats  jumped  out.  What 
joy  there  was!  "Now,  children,"  said  the  mother,  "go  fetch 
some  stones."  With  these  she  filled  up  the  wolf's  stomach. 
She  then  sewed  up  his  body. 

By  and  by  the  wolf  got  upon  his  feet.  He  was  thirsty  and 
went  down  to  the  brook  to  get  a  drink.  As  he  put  his  head 
down  to  drink  the  heavy  stones  in  his  stomach  made  him  fall 
into  the  water  and  he  was  drowned.  When  the  little  goats 
saw  this  they  cried,  "The  wolf  is  dead!  The  wolf  is  dead!"  and 
danced  for  joy. 


THE  SEl'EN  LITTLE  GOATS. 


43 


Model  Treatment. 

1.  Tell  what  the  mother  goat  saw  on  her  return.  Tell  about  her  grief. 
What  did  she  do ?  Who  finally  replied  ?  How  were  the  little  goats  saved? 
What  became  of  the  wolf  ? 

Reproduce  from  the  beginning. 

2.  Tell  what  you  know  about  a  meadow.  What  grows  there?  What 
is  the  difference  between  a  forest  and  a  meadow  ? 


Detail  of  Form  Work. 


MAKING. 

DRAWING. 

CUTTING. 

DRAMATIZATION. 

I. 

House  of  paper. 
Goat    modeled 
in  clay. 

The    Mother     Goat 
and    her    seven 
little  ones. 

The    Goat  in  the 
forest. 

The  Goat  and  her 
little  ones. 

II. 

Table  (see  Worst, 
Ex  III).    Wolf 
modeled    in 
clay. 

The    Wolf     knock- 
ing at  the  door. 

The   Wolf  at    the 
door. 

The  Wolf  knocks  at 
the  door  ;  the  little 
goats  detect  hira. 

III. 

Bed  (see   Worst, 
Ex.  V). 

The    Wolf  and   the 
Miller. 

The  Wolf  and  the 
Caker. 

The  Wolf  interviews 
the  Miller  and  the 
Baker. 

IV. 

Clock   Face  (see 
Worst,  Ex.  63). 

The    Wolf     in     the 
meadow       under 
the  tree. 

The  Kids  dancing 
for  joy. 

The  Mother  Goat's 
return. 

Ji  THE  STORY  IX  TR.IMARY  INSTRUCTION. 

THE   STARDOLLARS. 

I. 

Preparation. 

The  story  of  a  little  girl  who  had  neither  father  nor  mother, 
nor  any  one  to  care  for  her. 

A  talk  about  the  helplessness  of  a  child  in  that  condition. 

Narration. 

AT   HOME. 

There  was  once  a  very  little  girl  who  lived  with  her  parents 
in  a  pretty  little  cottage  near  a  great  forest.  I  do  not  know 
what  her  name  was.  Her  parents  were  kind  and  good  and 
loved  her  dearly,  for  she  was  a  very  sweet  and  loving  child. 

They  lived  together  happily  in  their  cheerful  little  home. 
Her  parents  gave  her  food  and  clothing  and  at  night  she  slept 
in  a  warm,  snug  little  bed  very  near  them.  These  were  happy 
times,  indeed! 

But  all  at  once  her  dear  father  and  mother  took  sick  and 
died,  and  she  was  left  all  alone  with  no  one  to  care  for  her  or 
give  her  food.  For  a  time  she  lived  in  the  cottage;  but  at  last 
there  was  nothing  left  for  her  to  eat  but  half  a  loaf  of  bread. 

She  was  forsaken  bv  all  and  wandered  alone  out  into  the 


I 


THE  STARDOLLARS.  4S 

fields  '.vhere  the  corn,  the  llowers  and  the  potatoes  grew.  But 
she  did  not  cry  nor  get  discouraged,  for  she  thought  that  her 
Heavenly  Father  would  care  for  her, 

Suggestions. 

Dependent  on  parents  for  food,  clothing  and  shelter.  Work  of  father. 
Of  mother.     Mission  of  mother  goat  recalled. 

n. 

Preparation. 

The  children  tell  what  the  little  girl  might  see  and  what 
might  happen  to  her. 

Narration. 

IN    THE   FIELDS. 

As  she  wandered  there  alone  in  the  fields,  she  saw  the 
stalks  of  corn  waving  their  tasseled  heads.  She  thought  they 
were  nodding  a  good  morning  to  her.  The  flowers,  too, 
seemed  friendly. 

As  she  went  along  she  met  an  old  man.  His  back  was 
bowed  with  age  and  his  hair  was  white  as  snow.  His  clothes 
were  torn  and  thin.  In  a  feeble  voice  he  asked  her  to  give 
him  something-  to  eat,  as  he  was  very  hungry. 

The  little  girl  was  so  sorry  for  him  tlmt  ;-;hc  gave  him  the 


46  THE  STORY  IN  PRIMARY  INSTRUCTION. 

half  loaf  of  bread  which  she  carried  in  her  pocket.  "God  bless 
you,  my  child,"  he  said. 

She  next  met  a  little  girl  who  was  still  poorer  than  she  was, 
for  she  had  nothing  on  her  head.  Our  little  girl  at  once  took 
off  her  own  hood  and  gave  it  to  the  poorer  child. 

To  another  child  she  gave  her  cloak.    At  last  she  met  still 

another  child  who  was  crying,  and  almost  naked.    To  her  she 

gave  her  dress.    As  night  was  coming  on  she  entered  a  great 

forest,  where  there  were  many  wild  berries.     She  heard  the 

birds  singing  and  saw  many  friendly  animals,  and  here  she 

passed  the  night.  _ 

1 
Suggestions. 

Talk  about  what  was  seen  in  the  field.  Also  about  the  com,  the  flow- 
ers, the  berries,  the  birds,  and  the  animals. 

Bring  out  the  child's  sympathy  and  unselfishness. 

III. 
Preparation. 

What  might  happen  to  the  child  in  the  forest. 

Narration. 

IN   THE   FOREST. 

The  little  girl  felt  that  the  great  trees  were  her  friends. 
When  it  grew  quite  dark  she  lay  down  beneath  the  broad- 
spreading  branches  of  a  tree  and  tried  to  sleep. 


i 


THE  STARDOLLARS.  47 

She  could  see  through  the  leaves  far  into  the  deep  blue  sky. 
The  stars  shone  brightly  and  the  great,  round  inoon  looked 
down  at  her.  When  the  stars  twinkled,  she  thought  they 
were  casting  bright  glances  at  her.  And,  as  she  watched 
them,  all  at  once  they  left  their  places  and  fell  out  of  the  sky 
right  down  to  the  earth. 

She  watched  where  they  fell  and,  by  the  bright  light  of  the 
moon,  she  saw  that  they  had  become  bright,  hard,  silver  dol- 
lars. When  she  gathered  them  up  there  were  so  many  that, 
ever  afterward,  there  was  enough  to  buy  everything  she  needed 
to  eat  and  to  wear. 

Sugg-estions. 

A  talk  about  moon,  stars,  and  sky. 

Tell  something  that  shows  the  little  girl  was  brave;  that  she  was  gen- 
erous.    Who  befriended  her  ? 


48  THE  STORY  IN  PRIMARY  INSTRUCTION. 

LITTLE   RED   RIDING  HOOD. 

I. 

Preparation. 

A  story  of  a  little  girl  who  was  sent  to  see  her  sick  grand- 
mother. 

She  met  a  wolf  and  talked  with  him. 
She  w^as  in  great  danger,  but  was  saved. 
Talk  of  family  relations. 

Narration. 

AT   HOME. 

Once  upon  a  time  there  was  a  dear  little  girl  who  lived  with 
her  father  and  mother  in  a  little  house  near  the  woods.  This 
child  had  a  grandmother  who  lived  by  herself  in  a  little  house 
on  the  other  side  of  the  woods.  The  grandmother  loved  the 
little  granddaughter  dearly  and  was  very  kind  to  her. 

One  time  she  made  the  child  a  little  cloak  with  a  red  hood. 
The  little  girl  looked  very  pretty  in  her  cloak  and  hood;  and 
when  she  skipped  along  the  street  the  neighbors  would  say, 
"Here  comes  our  little  Red  Riding  Hood." 

One  day  Little  Red  Riding  Hood's  mother  called  to  her, 
"Come,  my  child,  put  on  your  cloak  and  hood.     T  want  you 


LITTLE  RED  RIDING  HOOD.  49 

to  go  to  see  how  dear  grandmother  is  to-day.  This  is  her 
birthday,  and  you  may  take  her  a  little  present.  See,  in  this 
basket  I  have  put  a  loaf  of  bread,  a  pat  of  fresh  butter,  and 
a  bottle  of  wine. 

And  now,  little  daughter,  listen  to  me.  Do  not  leave  the 
path.  If  you  meet  any  one,  say  'Good  morning'  politely,  but 
do  not  stop  to  talk." 

The  little  one  said,  "Yes,  mother,  I  will  mind  all  you  say." 
She  then  took  the  basket,  kissed  her  mother,  and  skipped  along 
the  way  to  grandmother's  house, 

II. 
Preparation. 

Recall  wolf.    Talk  about  woods.    Explain  path. 

Narration. 

IN  THE  WOODS. 

As  Red  Riding  Hood  went  along  the  path  in  the  woods 
she  met  a  big  gray  wolf*  He  was  a  hungry  wolf,  and  when 
he  saw  this  rosy-cheeked  little  girl  he  wanted  to  eat  her.  But 
he  was  afraid  because  there  were  woodcutters  at  work  near  by. 
He  came  close  to  Red  Riding  Hood  and  spoke  to  her. 
"Good  morning,  little  girl,"  he  said,  "where  are  you  going?" 


GO  THE  STORY  IN  PRIMARY  INSTRUCTION. 

"Good  morning,  sir,"  said  Red  Riding  Hood;  "I  am  going  to 
see  my  dear  grandmother,  who  is  sick." 

"What  have  you  in  the  basket?"'  asked  the  wolf.  "Oh,  I 
have  a  little  present  for  my  grandmother,"  said  Red  Riding 
Hood.  "I  am  taking  her  a  loaf  of  bread,  a  pat  of  butter,  and 
a  bottle  of  wine.    This  is  my  dear  grandmother's  birthday." 

"Why  don't  you  pick  a  bunch  of  these  lovely  flowers  for 
your  grandmother?"  said  the  wolf.  "Oh,  I  mustn't  leave  the 
path."  answered  Red  Riding  Hood;  "my  mother  said  so." 
"She  never  meant  that.'*  said  the  wolf.  "She  would  be  pleased 
to  have  you  take  some  of  these  beautiful  flowers  to  your  poor 
sick  grandmother.    Where  does  your  grandmother  live?" 

"Grandmother  lives  in  the  little  house  at  the  end  of  this 
path,"  said  Red  Riding  Hood.  "There  are  three  tall  trees  be- 
hind the  house  and  nut  bushes  growing  near." 

"Well,  good-bye,  little  girl."  said  the  wolf;  "be  sure  you 
pick  a  large  bunch  of  flowers  for  your  grandmother."  And  oflf 
he  strolled  along  the  path  towards  the  grandmother's  house. 

When  he  got  there  he  knocked  at  the  door.  The  dear  old 
grandmother  was  lying  down  on  the  bed.  She  called  out, 
"Who  is  there?"  "It  is  I,  Red  Riding  Hood,"  answered  the 
wolf;  "I  have  brought  you  a  birthday  present." 

"Pull  the  string  and  the  latch  will  fly  up,"  said  the  grand- 
mother.    The  v.olf  pulled  the  string  that  hung  on  the  out- 


LITTLE  RED  RIDING  HOOD.  61 

side  of  the  door.    Sure  enough,  the  latch  flew  up  and  the  door 
swung  open. 

Oh,  how  astonished  the  poor  old  grandmother  was  when 
the  door  opened  and  in  walked  this  big,  hungry-looking  wolf 
instead  of  her  dear  little  Red  Riding  Hood! 

The  wolf  gave  her  no  time  to  cry  out.  He  sprang  upon  the 
bed  and  swallowed  the  poor  frightened  grandmother  before 
she  had  time  to  say  a  word. 

Then  he  dressed  himself  in  her  night-gown  and  cap  and 
got  into  bed. 

Suggrestions . 

Question  to  connect  and  deepen  the  story. 

Have  interesting  talks  about  trees,  animals,  flowers,  sights  and  sounds 
of  the  woods. 

Work  of  the  woodcutters. 

Recall  conduct  of  the  wolf  in  "The  Wolf  and  The  Seven  Little  Goats." 
Deceit    Disobedience. 

HI. 
Preparation, 

Recall  preceding  part  of  story.  Talk  of  the  danger  await- 
ing Red  Riding  Hood. 

Narration. 

AT  grandmother's  HOUSE. 

By  and  by  little  Red  Riding  Hood  came  to  her  grand- 
mother's house  carrying  her  basket  and  the  flowers  she  had 
gathered.    She  knocked  at  the  door. 


52  THE  STORY  IN  PRIMARY  INSTRUCTION. 

"Who  is  there?"  asked  a  voice.  "It  is  little  Red  Riding 
Hood,  grandmother,"  answered  the  child.  "Pull  the  string 
and  the  latch  will  fly  up,"  said  the  voice.  Red  Riding  Hood 
pulled  the  string.  Up  flew  the  latch,  the  door  opened,  and  she 
went  in. 

"I  wish  you  a  happy  birthday,  grandmother,"  she  said. 
"See,  I  have  brought  you  a  little  present  and  some  pretty  flow- 
ers." "Put  them  away,"  said  the  voice  from  the  bed,  "and 
come  here;  for  I  wish  to  talk  to  you."  Red  Riding  Hood 
went  over  to  the  bed  to  talk  to  her  grandmother. 

Of  course  it  was  not  her  dear  grandmother,  but  the  wolf. 
But  she  did  not  know  that. 

Red  Riding  Hood  sat  down  on  the  bed.  The  room  was  so 
dark  that  she  could  not  see  very  well.  But  she  wondered  at 
the  strange  looking  face  that  looked  at  her  from  her  grand- 
mother's nightcap. 

"O  grandmother,"  she  said,  "what  big  ears  you  have." 
"The  better  to  hear  you,  my  child."  "O  grandmother,  what 
great  eyes  you  have."  "The  better  to  see  you,  my  child." 
"O  grandmother,  what  a  big  nose  you  have."  "The  better  to 
smell  you,  my  child."  "O  grandmother,  what  long  teeth  you 
have."  "The  better  to  eat  you,  my  child,"  cried  the  wolf;  and 
he  sprang  up  and  was  just  about  to  swallow  poor  little  Red 
Riding  Hood  when  the  door  burst  open  and  in  came  the  wood- 
cutters, who  soon  killed  the  wolf. 


LITTLE  RED  RWJXU  HOOD.  53 

Red  Riding  Hood  told  her  mother  all  that  had  happened. 

"I  was  a  naughty  girl,  dear  mother,"  she  said,  "to  listen 
to  the  wolf  instead  of  obeying  you;  but  I  will  never,  never 
do  so  again." 

Suggestions. 

Obedience  and  disobedience.  Recall  conduct  of  the  little  goats  in  the 
story  of  "The  Wolf  and  The  Seven  Little  Goats." 

Consequence  of  disobedience  as  shown  in  the  story  of  Red  Riding  Hood ; 
as  found  in  the  children's  own  experience. 


tJfe 


54  THE.  STORY  IN  PRIMARY  INSTRUCTlONr 


THE  SWEET   RICE   PORRIDGE. 

I. 

Preparation. 

A  story  of  a  little  girl  and  her  mother  who  had  nothing  to 
eat.  Talk  of  possible  reasons  for  the  child  and  mother's  hav- 
ing nothing  to  eat. 

Narration. 

THE    LITTLE   GIBL   AND   HEB   MOTHER. 

There  was  once  a  little  girl  who  was  very,  very  poor. 
When  noon  came  there  was  little  dinner  on  the  table  for  her, 
and  at  night  the  poor  child  went  hungry  to  bed. 

In  the  morning,  when  she  awoke,  she  was  still  hungry. 
She  went  to  the  pantry,  but  there  was  nothing  to  eat  in  it. 
She  went  to  the  kitchen  and  found  nothing  there  but  empty 
pots  and  pans. 

Then  the  little  girl  went  to  her  mother.  "O  mother,"  she 
said,  "I  am  so  hungry."  But  the  poor  mother  was  sick  in  bed 
and  could  not  get  anything  for  herself  or  for  her  child. 


THE  SWEET  RICE  PORRIDGE.  55 

When  the  mother  was  well  she  worked  hard.  She  picked 
up  wood  in  the  forest.  She  washed  clothes  and  scrubbed 
floors.  With  the  money  she  earned  she  bought  food  for  her 
little  daughter  and  herself.  But  now  the  mother  was  sick. 
She  lay  in  bed  all  day,  and  both  she  and  her  daughter  were 
hungry. 

Now,  do  you  think  the  little  girl  fretted  and  cried?  No, 
she  did  not,  because  she  knew  that  if  she  cried  her  sick  mother 
would  feel  so  sorry  and  sad  that  she  would  be  worse.  This 
little  girl  was  patient  and  kind.  She  found  at  last  one  little 
piece  of  bread.  She  took  it  to  her  mother  and  said,  "Here, 
dear  mother,  is  a  piece  of  bread  for  you.  Eat  it:  it  may  make 
you  stronger." 

Sug-gcstions. 


Recall  "The  Stmrdollars"  story.       Bring  out  this  child's  patience  and 
nnseltishness. 


II. 

Preparation. 

An  old  woman  gave  the  child  something  of  great  use. 
What  could  it  be? 


66  THE  STORY  IN  PRIMARY  INSTRUCTION. 

Karratiou. 

THE   WONDERFUL   POT. 

The  little  girl  thought,  "Is  there  not  something  I  can  do 
to  help  my  sick  mother?"  She  did  not  sit  down  with  her  hands 
in  her  lap  and  wait  for  something  to  eat  to  come  to  her.  She 
said  to  herself,  "I  must  work.  What  can  I  do?  I  am  too 
small  to  wash  clothes.  I  am  too  small  to  scrub  floors.  But  I 
can  go  out  into  the  woods.  I  will  find  herbs  there  and  berries. 
I  can  gather  them  and  sell  them.  Then  I  will  buy  bread,  and 
we  need  not  be  hungry  any  more." 

So  the  little  girl  went  out  into  the  woods.  There  she  found 
ripe  berries.  She  began  to  pick  them  and  put  them  into  her 
little  basket.  An  old,  old  woman  saw  her.  She  stood  and 
watched  the  child.  She  saw  her  poor,  thin  little  face,  and 
that  the  child  did  not  jump  about  and  laugh  and  sing  as 
other  children  did  when  they  came  to  the  woods.  She  saw, 
too,  that  this  child  did  not  eat  even  the  smallest  berry.  As 
fast  as  she  picked  them  she  dropped  them  into  her  small  basket. 

The  old  woman's  heart  was  full  of  pity  for  the  poor  little 
child.  She  said,  "My  child,  I  will  help  you."  Then  she  gave 
her  a  little  earthen  pot.  It  seemed  a  queer  thing  to  give  to 
this  child  who  had  so  many  empty  pots  at  home.  But  this  was 
a  wonderful  pot.  The  old  woman  told  the  child  all  about  it. 
She  said,  "My  child,  this  little  pot  will  cook  very  sweet  and 


THE  SWEET  RICE  PORRIDGE.  57 

good  rice  porridge  for  you,  and  you  need  not  put  anything 
into  it  at  all.  Just  say,  "Little  Pot,  Cook!"  and  it  will  begin 
to  cook  the  sweet  rice  porridge.  When  you  have  enough 
say,  "Little  Pot,  Stop!"  and  it  will  stop.  The  Httle  giri  thanked 
the  kind  old  woman  and  ran  home  with  the  wonderful  pot. 

Suggestion.s. 

Rice,  its  uses,  preparation  for  food.  Where  obtained.  Explain  earthen 
pot.     Pottery. 

Helping  one's  self.  Children  tell  of  ways  in  which  they  can  help 
themselves. 

IIL 
Preparation. 

The  child  carries  the  pot  home.  Recall  the  old  woman's 
directions. 

Narration. 

THE    MOTHER   WELL   AGAIN. 

The  little  girl  ran  home  as  fast  as  she  could  run.  "O  dear 
mother,"  she  said,  "see  what  a  good  old  woman  gave  me.  It 
is  such  a  wonderful  pot.  All  we  need  do  is  to  say,  'Little  Pot, 
Cook!'  and  it  will  cook  rice  porridge  for  us.  When  we  have 
enough,  we  must  say,  'Little  Pot,  Stop!'  and  it  will  stop  cook- 
mg. 

Then  the  little  girl  set  the  pot  on  the  hearthstone.  The 
mother  called  out,  "Little  Pot,  Cook!"    Her  voice  was  weak. 


58  THE  STORY  IN  FRIM.iRy  INSTRUCTION, 

but  the  little  pot  heard  and  began  to  cook.  Soon  it  was  full 
up  to  the  very  top  with  rice  porridge.  Then  the  mother  called 
out,  "Little  Pot,  Stop!"  and  the  wonderful  little  pot  stopped. 
Oh,  how  quickly  the  little  girl  ran  to  the  cupboard!  She 
brought  out  plates  and  spoons,  and  soon  she  and  the  poor 
sick  mother  were  eating  sweet  rice. 

Sug^g^estions. 

Different  kinds  of  berries.     Where  they  grow. 
Bzplain  self-help. 

IV. 

Preparation. 

One  day  the  wonderful  pot  did  not  stop.  The  children 
imagine  a  cause. 

Narration. 

THE   FLOOD   OP   RIOE. 

The  mothef  was  soon  so  well  and  strong  that  she  could  go 
to  her  work  again.  Every  day  she  and  her  daughter  had  rice 
porridge  for  breakfast.  When  they  had  eaten  their  breakfast 
the  mother  always  put  the  pot  away  on  a  shelf  and  said,  "Now, 
little  daughter,  be  a  good  girl.  Take  care  of  the  house  and  do 
not  touch  the  little  pot  while  I  am  gone.  When  I  come  home 
\ve  shall  have  some  more  of  the  porridge  you  like  so  much." 


THE  SWEUT  RICE  PORRIDGE.  69 

And  the  little  girl  kissed  her  mother  and  promised  to  obey 
her.  This  happened  for  many  days.  But  one  day  the  little 
girl  said  to  herself,  "Dear  me,  I  am  very  hungry.  How  good 
some  of  that  rice  porridge  would  taste.  I  am  sure  I  wouldn't 
break  the  little  pot.    I  would  be  so  very  careful." 

She  said  this  many  times  to  herself.  At  last  she  stood 
upon  a  chair  and  reached  up  to  the  high  shelf  where  her 
mother  had  put  the  little  pot.  She  took  it  down  and  set  it 
on  the  hearthstone.  Then  she  said,  "Little  Pot,  Cook!"  The 
little  pot  heard  and  began  to  cook.  The  little  girl  got  a  plate 
and  spoon  and  taking  some  rice  sat  dov/n  to  eat. 

But  she  forgot  all  about  speaking  to  the  little  pot  and  it 
went  on  cooking.  The  child  was  so  busy  eating  that  she  never 
noticed  what  was  happening.  The  wonderful  pot  was  still 
cooking  and  the  rice  porridge  began  running  over.  When  the 
little  girl  saw  it,  she  called  out,  "Here,  that  is  enough!"  But 
the  little  pot  did  not  stop  and  the  rice  porridge  poured  out  over 
the  floor. 

The  little  girl  was  frightened.  She  called  out  very  loud, 
"That  is  enough!  Cook  no  more!  Halt!  Halt!"  It  was  all 
of  no  use.  She  had  forgotten  the  right  words  to  say  and  the 
little  pot  kept  on  cooking.  The  rice  porridge  was  still  pour- 
ing out  into  the  room.  Soon  the  chairs  and  the  table  were 
standing  in  it.    The  little  girl  was  more  frightened  than  ever. 


60  THE  STORY  IN  PRIMARY  INSTRUCTION. 

She  opened  the  door  and  ran  out  into  the  yard  and  rice  por- 
ridge came  streaming  out  after  her. 

How  the  other  children  of  the  neighborhood  laughed  and 
shouted  when  they  saw  the  stream  of  rice  porridge!  They 
came  running  with  spoons  in  their  hands  and  began  to  eat  it. 
All  the  older  people  laughed  and  wondered,  too. 

But  soon  the  people  became  anxious.  They  said,  "This 
rice  porridge  will  get  into  our  houses  and  we  shall  all  be 
drowned  in  it."  So  the  people  and  their  children  ran  into  their 
houses  and  shut  all  the  doors  and  windows  to  keep  out  the 
rice  porridge.  The  streets  were  full  of  it.  It  rose  up  higher 
and  higher.  It  covered  up  the  windows  so  that  their  houses 
were  as  dark  as  night. 

Suggrestions. 

Who  else  was  disobedient  in  the  stories  we  have  had  f  What  trouble 
did  they  have? 

V. 
Preparation. 

The  valley  in  which  this  child  lived  filled  up. 

Narration. 

THE    VALLEY    FILLED    UP. 

The  little  girl's  home  was  down  in  a  valley.  High  up  on 
the  mountain  there  stood  a  beautiful  house.     Rich  persons 


THE  aw  BET  RICE  FORKIDGE.  61 

lived  there,  and  the  little  girl's  mother  often  went  to  work  for 
them.  This  very  day,  when  the  little  girl  had  been  so  dis- 
obedient, her  mother  was  working  in  the  house  away  up  on 
the  mountain. 

When  the  little  girl  saw  the  rice  porridge  streaming  out 
into  the  streets  and  filling  up  the  valley,  she  ran  up  the  moun- 
tain's side  as  fast  as  she  could  to  tell  her  mother  all  that  had 
happened.  As  soon  as  she  saw  her  mother,  she  called  out, 
"O  mother,  I  took  down  the  little  pot  and  told  it  to  cook. 
When  I  wanted  it  to  stop  I  forgot  what  to  say.  It  won't  stop 
cooking,  and  the  whole  valley  is  full  of  rice  porridge." 

The  mother  called  out  softly  "Little  Pot,  Stop!"  and  the 
little  pot  heard  her  and  stopped.  But  still  the  whole  valley 
was  full  of  rice  porridge.  It  covered  the  houses.  It  was  up 
even  to  the  church  steeple. 

When  the  milkmen  came  in  the  morning  they  saw  it. 
They  called  out,  "What  is  this?"  The  people  shouted  back, 
"It  is  rice  porridge.  If  you  want  to  come  to  us,  you  must  dig 
your  way  through."  And  it  was  so.  Whoever  wanted  to  go 
into  that  valley  had  to  dig  his  way  through  the  sweet  rice  por- 
ridge that  filled  it. 

For  many  days  the  people  were  busy  eating  rice  porridge. 
As  for  the  little  girl  who  had  caused  all  this  trouble,  she  felt 
very  sorry  and  ashamed,  and  I  am  sure  was  never  disobedient 
again. 


62 


THE  STORY  IN  PRIMARY  INSTRUCTION. 


Sa^gestions. 

Recall  mention  of  mountains  in  other  stories.  Talk  about  mountains 
and  valleys.  Illustrate  by  pictures  or,  if  possible,  by  moulding  in  clay  or 
sand. 

Emphasize  the  thought  of  obedience.     Compare  with  previous  stories. 


MOTHER  FROST.  ^ 

MOTHER  FROST. 

I. 
Preparation.  .    _ 

A  story  of  a  mother  and  her  two  daughters.  One  was 
beautiful  and  lazy,  the  other  ugly  and  industrious.  The 
mother  loved  the  beautiful  one  and  allowed  her  to  be  idle, 
but  she  made  the  industrious  one  do  all  the  spinning  and 
household  work. 

Talk  of  the  different  kinds  of  household  work.  Explain 
spindle,  spinning,  and  a  zvcll. 

Narration. 

THE   LOST   SPINDLE. 

There  was  once  a  widow  who  had  two  daughters.  One 
was  beautiful  and  lazy,  the  other  ugly  and  industrious.  The 
mother,  however,  for  some  reason  showed  more  love  for  the 
beautiful  one  than  she  did  for  the  ugly  one,  who  did  all  the 
work  about  the  house. 

Because  her  mother  did  not  love  her,  she  lived  in  the 
kitchen  and  was  very  sad.  The  poor  maid  had  to  go  out  every 
day  and  sit  by  the  great  road  that  ran  near  the  house  and 


6i  THE  STORY  IN  FRlilARY  IXSTRUCTIOX. 

spin.  Near  the  road  was  a  deep  well.  She  liked  best  to  sit 
near  this  because  so  many  travelers  stopped  there  to  draw 
the  cool  water  from  the  deep  well. 

She  spun  so  much  yarn  that  her  fingers  became  worn  and 
thin,  and  bled  a  great  deal.  One  day  it  happened  that  her 
spindle  sHpped  from  her  fingers  and  fell  into  the  well. 

She  was  ver\-  much  frightened  and  ran  home,  crying,  to  hei 
mother,  and  told  her  that  she  had  lost  her  spindle  in  the  well. 
The  mother  scolded  her  and  was  so  angr*-  that  at  last  she  said, 
"Since  you  have  been  so  careless  as  to  lose  your  spindle  in  the 
well;  you  must  get  it  out  again  as  best  you  can." 

Suggestions. 

Materials  used  to  make  yam.     Wool,  cotton,  etc     Soiirces. 

Difiereat  ways  of  spinnicg.  Twisting  by  the  hands.  Spinning  wheel. 
Uses  of  yam.  Knitting  and  weaving.  Source  of  drinking  water.  Differ- 
ent ways  of  getting  it  from  a  well — buckets,  windlass,  pump,  etc. 

Idleness.  Indus! ty.  Tell  who  the  idle  and  who  the  industrious  ones 
are  in  preceding  stories. 


II. 

Preparation. 

Talk  about  the  ways  the  maid  might  attempt  to  regain  her 
spindle.     Recall  meadow. 

H 


MOTHER  FROST.  65 

Xarratiou. 

THE    MAID    IX    THE   WELL. 

The  maid  went  back  to  the  road.  She  did  not  know  how 
to  get  the  spindle  out  of  the  well.  So  she  jumped  down  into 
the  water  to  get  it.  For  a  while  she  did  not  know  an}-thing, 
but  presently  she  found  herself  in  a  beautiful  meadow  where 
the  sun  was  shining  and  many  thousands  of  flowers  blooming 
all  around  her. 

She  got  up  and  walked  along  till  she  came  to  a  bake  oven. 
The  oven  was  full  of  bread  which  cried  out,  "Draw  me  out 
or  I  shall  bum.  I  have  baked  long  enough."  So  she  went  up 
and  took  the  bread  shovel  that  stood  by  the  oven  and  drew  out 
one  loaf  after  another. 

Then  she  walked  on  farther  and  came  to  an  apple  tree.  The 
tree  cried  out,  "Shake  me!  Shake  me!  My  apples  are  all 
ripe."  So  she  shook  the  tree  till  the  apples  fell  down  like  rain. 
\\'hen  there  were  no  more  left  on  the  tree  she  gathered  them 
into  a  heap  and  went  on. 

At  last  she  came  to  a  cottage  out  of  which  an  old  woman 
was  peeping.  The  old  woman  had  such  large  teeth  that  the 
maid  was  frightened  and  started  to  run  away.  But  the  old 
woman  called  her  back,  saying,  *'Why  are  you  afraid,  my  child? 
Stay  with  me.  If  you  will  put  things  in  order  in  mv  house,  all 
will  go  well  with  you.     Only  you  must  be  careful  and  shake 


66  THE  STORY  IN  PRIMARY  INSTRUCTION. 

my  bed  well  and  make  the  feathers  fly.    Then  it  will  snow  on 
the  earth.     I  am  old  Mother  Frost." 

As  the  old  woman  spoke  kindly,  the  timid  maid  stayed  and 
worked  for  her.  Everything  was  pleasant.  Old  Mother  Frost 
was  very  kind  and  the  industrious  maid  was  contented.  She 
shook  the  bed  well  every  day  and  made  the  feathers  fly  down- 
ward as  flakes  of  snow.  She  was  very  happy.  She  had  enough 
to  eat  and  kind  words  from  Mother  Frost. 

Suggestions. 

Talk  about  apple-trees  and  orchards.  The  baking  of  breaui.  Connect 
with  snow.     Jack  Frost     Use  of  snow,  etc. 

III. 
Preparation. 

Develop  out  of  the  children's  experiences  the  longing  for 
home — homesickness. 

Narration. 

THB  BBTUBN   HOME. 

The  maiden  stayed  with  Mother  Frost  a  long  time.  But 
after  a  while  she  became  very  sad.  She  did  not  know  what 
the  matter  was.  At  last  she  found  that  she  was  homesick;  and, 
although  she  now  fared  a  thousand  times  better  than  when 
at  home,  she  longed  to  go  back. 

So  she  said  to  Mother  Frost,  "I  wish  to  go  home  to  my 
mother  and  sister."     Mother  Frost  replied.  "Tt  pleases  me 


MOTHER  I'ROSr.  67 

that  you  wish  to  go  home;  and  since  you  have  served  me  so 
faithfully,  I  will  myself  take  you  home."  She  thereupon  took 
her  by  the  hand  and  led  her  to  a  great  door.  It  flew  open 
at  their  coming,  and,  as  the  maid  stood  in  the  doorway,  a 
shower  of  gold  fell  upon  her.  The  gold  remained  sticking 
in  her  hair,  on  her  dress,  and  even  in  her  shoes.  "All  this 
gold  is  for  you  because  you  have  been  so  faithful  and  indus- 
trious. Here  is  your  spindle  also,"  were  the  parting  words  of 
Mother  Frost. 

When  she  stepped  out  the  door  closed  behind  her,  and 
the  maid  found  herself  near  her  mother's  house.  As  she  came 
into  the  yard  the  cock  which  was  perched  upon  the  hen-house 
cried  out,  "Cock — a — doodle — do!  Our  golden  maid  comes 
home  again." 

Her  mother  and  sister  were  surprised  to  see  her,  and  be- 
cause she  had  so  much  gold  they  welcomed  her  very  heartily. 

Suggestions. 

Talk  about  source  and  uses  of  gold,  its  qualities,  etc. 
What  children  can  do  in  the  home,  at  school. 

IV. 

Preparation. 

The  Idle  maid  now  tries  to  get  gold.  She  throws  her 
spindle  into  the  well  and  jumps  in  after  it.    Children  tell  what 


68  THE  STORY  IN  PRIMARY  INSTRUCTION, 

they  think  she  will  do  at  the  oven,  at  the  apple-  tree,  at  Mother 
Frost's.    Will  she  get  gold?    Jtxpla'm  pitch. 

Narration. 

THE   IDLE    MAID. 

The  good  sister  told  all  that  had  happened  while  she  was 
away,  and  when  her  mother  heard  how  she  came  by  all  her 
gold  she  said  to  the  lazy  sister,  "You  must  try  your  luck,  also." 
So  the  mother  had  her  go  and  spin  by  the  well.  But  the  lazy 
girl  soon  became  tired  of  spinning  and  threw  the  spindle  into 
the  well.    Then  she  jumped  in  after  it. 

Like  her  sister,  she  came  to  the  beautiful  meadow  and 
traveled  the  same  path.  When  she  came  to  the  bake  oven, 
the  bread  called,  "Draw  me  out!  Draw  me  out!"  But  the 
lazy  maid  said,  "I  have  no  wish  to  make  myself  dirty  with 
you!" 

Soon  she  came  to  the  apple  tree.  The  tree  cried  out, 
"Shake  me!  shake  me!  My  apples  are  ripe."  But  the  maid 
said,  "I  will  not  shake  you.  Your  apples  might  fall  on  my 
head."  She  was  not  afraid  of  old  Mother  Frost,  for  she  had 
heard  of  her  large  teeth.  She  promised  to  serve  her  as  her 
sister  had  done. 

The  first  day  she  worked  hard  because  she  thought  of  the 
gold.    The  second  day  she  began  to  grow  careless.    The  third 


MOTHER  I  KOST.  Oi» 

day  she  did  not  get  up  until  noon.  Mother  Frost  said.  "T 
think  you  are  tired  of  working  for  me.  You  had  better  go 
home."  The  lazy  maid  was  very  glad;  for  she  thought,  "Now, 
I  will  get  my  gold!" 

Mother  Frost  led  her  also  to  the  door;  but,  as  she  stood 
within  tlie  doorway,  instead  of  gold  there  was  a  shower  of 
pitch.  "This  is  the  reward  for  your  service,"  said  Mother 
Frost,  and  closed  the  door.  As  the  lazy  maid  came  home  the 
cock  cried.  "Cock — a — doodle — do!  Our  dirty  maid  comes 
home  again."    The  pitch  stuck  to  her  as  long  as  she  lived. 

Sugg-estions. 

Explain  oven,  pitch. 

Talk  about  the  industrious  maid  and  her  reward.  The  idle  and  dis- 
honest one  and  her  punishment.  Who  was  rewarded  in  "The  Stardollar" 
story?  Who  was  punished  in  "The  Seven  Little  Goats"?  In  "Red  Riding 
Hood"? 


T 


TO  THE  STORY  IN  PRIMARY  INSTRUCTION. 

SNOW-WHITE  AND   ROSE-RED. 

I. 

Preparation. 

A  story  of  two  sisters  who  lived  with  their  mother  in  a 
little  house  in  the  woods.  Their  work  and  play.  A  bear  came 
to  the  house  and  became  their  friend.  A  wicked  dwarf  did 
wrong  and  was  punished.  Talk  of  home  in  the  woods,  garden. 
Explain  widow. 

Karration. 

THB  HOME. 

Once  upon  a  time,  in  a  little  house  in  the  woods,  there  lived 
a  poor  widow.  The  widow  had  a  garden  and  in  the  garden 
were  two  beautiful  rose  bushes.  On  one  of  these  bushes  there 
grew  lovely  red  roses;  on  the  other  the  roses  were  as  white  as 
snow. 

The  widow  had  two  daughters,  who  were  both  so  sweet 
that  she  named  them  after  the  roses.  One  of  the  daughters  she 
called  Snow-white  and  the  other  Rose-red. 


SNOIV-WHITE  AND  ROSE-RED.  71 

The  children  were  both  obedient  and  industrious,  yet  they 
were  not  quite  alike.  Snow-white  was  quiet  and  gentle  and 
fond  of  staying  in  the  house  with  her  mother.  Rose-red  en- 
joyed running  about  the  fields  in  search  of  flowers  and  butter- 
flies. 

Snow-white  and  Rose-red  helped  their  mother  to  keep  the 
little  house  clean  and  neat.  They  made  the  fire  in  the  morn- 
ing. They  filled  the  kettle  with  water  from  the  spring  and 
hung  it  over  the  fire.  It  was  a  very  bright  little  kettle,  for  it 
was  made  of  copper  and  was  polished  till  it  shone  like  gold. 

After  breakfast  the  sisters  worked  cheerfully  together. 
Eaeh  one  had  her  share  of  the  work.  When  that  was  done 
th«y  learned  their  lessons  and  did  their  sewing  and  knitting. 
In  ^11  this  their  mother  was  their  kind  teacher  and  helper. 

Suffg'estioiis. 

The  sisters'  work.  Homes  mentioned  in  other  stories.  Fire-place  men- 
ticwied  in  other  stories.     Garden.     Copper  kettle. 

Comparison  with  home  in  "Mother  Frost"  Talk  of  love  and  helpfiil- 
t]«M  iu  the  home. 

II. 

Preparation. 

Talk  of  play  and  playmates  in  the  woods. 


73  THE  STORY  IN  PRIMARY  INSTRUCTION. 

Narration, 

HOW   SNOW-WHITB   AND   EOSE-RED   PLAYED. 

Snow-white  and  Rose-red  often  played  in  the  woods  to- 
gether. They  ran  about  and  played  hide  and  seek  among 
the  trees.  They  waded  in  the  little  river.  When  they  were 
tired  of  running  about  and  sat  down  to  rest,  they  made  wreaths 
of  flowers  or  leaves  which  they  wore  upon  their  heads. 

Not  one  of  the  animals  was  afraid  of  them.  The  hares  ate 
cabbage  leaves  out  of  their  hands.  The  deer  ate  grass  by  their 
side.  The  squirrels  knew  the  sisters  well  and  came  to  eat  the 
nuts  they  brought  for  them.  The  birds,  too,  loved  them  and 
went  on  building  their  nests  or  feeding  their  young  ones. 
At  the  same  time  the  birds  sang  their  sweetest  songs  for  Rose- 
red  and  Snow-white. 

Siigrgestions. 

The  hare,  the  deer,  the  squirrel,— appearance,  habits,  home,  use  to  man. 
Compare,  for  size  and  strength,  with  other  animals  known  to  the  children. 

III. 

Preparation. 

A  bfear  comes  to  the  house.  Talk  of  bears  the  children 
have  seen. 

Explain  dzuarf,  treasure. 


4 


SNO'vV-WHITE  AND  ROSE-RED.  73 

Narratjosi, 
THE  BEAR. 

It  was  a  cold,  stomiy  night  in  winter.  Snow-white,  Rose- 
red  and  their  mother  sat  by  the  fire. 

The  sisters  were  knitting  while  their  mother  read  stories 
to  them  as  they  worked.  A  pet  lamb  lay  at  their  feet  and  a 
dove  perched  upon  the  shelf  above  the  fire-place. 

Outside,  the  wind  was  howling  and  the  snow  fell  fast.  But 
it  was  warm  and  bright  in  the  snug  little  house. 

Suddenly  there  was  a  noise  at  the  door.  The  mother 
stopped  reading  and  listened.  She  heard  the  noise  again  and 
said,  "Some  poor  traveler  is  lost  in  this  fearful  storm.  Run, 
dear  Snow-white,  and  let  him  in." 

Snow-white  jumped  up  and  opened  the  door.  In  came, 
not  a  man,  but  a  big,  shaggy  bear. 

Oh,  how  frightened  the  children  were!  They  clung  to  their 
mother  and  hid  their  faces  in  her  dress.  The  lamb  trembled 
and  bleated.  The  dove  woke  up  in  a  fright  and  flew  about 
the  room. 

Presently  the  bear  said,  "Do  not  be  afraid.  I  will  not  harm 
any  of  you."  The  mother  answered,  "I  am  sure  you  will  not. 
Come,  children,  do  not  be  afraid.  This  is  a  kind,  friendly 
bear." 


74  THE  STORY  IN  I'RIMARY  INSTRUCTION. 

Then  the  mother  told  the  bear  to  come  close  to  the  fire. 
When  the  children  saw  him  stretched  out  on  the  floor,  like  a 
great  dog,  they  lost  their  fear  of  him.  Rose-red  ran  and 
fetched  the  broom  to  brush  the  snow  from  his  coat. 

The  poor  bear  was  very  cold;  but  he  soon  grew  warm  be- 
fore the  bright  fire.  The  children  were  not  at  all  afraid  of 
him  now,  but  got  upon  liis  back  and  rolled  off  on  the  floor. 
The  bear  enjoyed  the  fun  as  much  as  they  did.  Only,  when 
they  pulled  his  rough  coat  too  hard,  he  would  say,  "Do  not 
hurt  your  old  friend,  my  dears." 

When  bed  time  came  the  mother  said,  "I  cannot  think  of 
turning  you  out  this  stormy  night.  Stay  here  by  the  fire." 
The  bear  thanked  her  and  stretched  out  on  the  warm  hearth- 
storfe. 

In  the  morning  the  children  opened  the  door  for  him,  and 
off  he  trotted  into  the  woods. 

After  that  the  bear  came  every  evening.  He  lay  down 
before  the  fire  and  the  children  played  with  him  until  it  was 
time  to  go  to  bed. 

The  winter  passed  by.  The  green  grass  was  springing  up 
in  the  meadows,  the  tiny  buds  were  breaking  out  into  leaves 
md  blossoms  on  the  trees. 

One  morning  the  bear  said,  "Children.  I  must  say  good- 
bye to  you.  I  am  going  away  and  you  will  not  see  me  again 
until  next  winter."     "Oh,  where  are  you  going,  dear  bear?" 


SNO^V'WHllE  AND  ROSE-RED.  76 

said  Snow-white.  "I  am  going  far  away  into  the  forest,"  he 
answered.  "There  are  many  precious  things  buried  in  the 
ground.  In  winter  they  are  safe  under  the  frozen  earth.  In 
the  summer,  when  the  sun  has  made  the  ground  soft,  it  will 
be  easy  for  the  wicked  dwarfs  who  live  in  the  forest  to  dig 
down  and  take  what  I  have  buried.  So  I  must  go  to  watch 
over  my  treasures." 

The  children  felt  very  sad  as  they  said  good-bye  to  their 
dear  playmate;  but  he  promised  to  come  back. 

As  he  went  out  the  latch  of  the  door  caught  in  his  rough 
coat  and  tore  it.  Snow-white  thought  that  she  saw  something 
like  gold  glittering  under  the  shaggy  hair;  but  she  was  not 
sure,  for  the  bear  trotted  away  very  quickly  and  soon  disap- 
peared among  the  trees. 

Suggestions. 

The  bear, — appearance,  home,  habits,  use  to  man,  etc  The  seasons — 
Spring,  Winter. 

Kindness  and  hospitality  as  shown  in  the  story. 

..i.v  ■■■?/.-• 

IV. 

Preparation, 

The  sisters  see  a  dwarf  who  is  in  trouble.  Recall  explana- 
tion of  dzvarf.  Imagine  in  what  trouble  he  might  be.  Ex- 
plain zvedge. 


76  THE  STORY  IN  FRIMAKY  INSTRUCTION, 

Narration. 

A    DWAKF    IN    TROUBLE. 

One  day.  not  long  after  the  bear  had  gone  away,  the 
mother  sent  Snow-white  and  Rose-red  into  the  woods  to 
gather  sticks.  They  saw  a  big  tree  which  the  wind  had  blown 
down.  As  they  drew  near  it  they  noticed  something  jumping 
up  and  down  on  the  fallen  tree-trunk.  At  first  they  could  not 
tell  what  it  was;  but,  Mdien  they  went  nearer,  they  saw  it  was 
a  little  dwarf  with  a  wrinkled  face  and  a  long,  white  beard. 

The  tree  was  split  from  top  to  bottom  and  the  dwarf's 
beard  was  caught  and  held  fast  in  the  crack.  He  was  jump- 
ing about  at  a  great  rate,  but  he  could  not  get  free. 

It  was  really  a  funny  sight  to  see  the  dwarf  hopping  about, 
and  Snow-white  and  Rose-red  could  not  keep  from  laughing. 
This  made  the  dwarf  very  angry.  He  cried  out,  "Why  are 
you  standing  there  laughing  instead  of  coming  to  help  me?" 

The  children,  as  you  know,  were  kind-hearted;  and  when 
they  saw  how  the  dwarf  felt  they  pitied  him. 

"Poor  little  man!"  said  Rose-red,  "how  did  this  happen?" 

"Stupid  thing,"  said  the  dwarf,  "what  a  silly  question.  T 
was  trying  to  split  this  tree  that  I  might  get  wood  for  my  fire. 
I  drove  my  wedge  into  the  tree,  but  the  wedge  flew  out.    As 


SNOW'WHITE  AND  ROSE-RED.  77 

the  crack  closed  up  again  it  caught  my  beard  and  holds  it  so 
tight  I  cannot  get  it  out." 

The  children  wished  to  help  the  poor  dwarf.  They  went 
up  to  him  and  tried  to  pull  his  beard  out  of  the  tree,  but  all 
their  pulling  was  of  no  use.  "I  will  go  home  and  get  my 
mother,"  said  Rose-red.  "No,  no,"  shouted  the  dwarf,  "do 
not  bring  any  more  people  here."  "I  think  I  can  help  you," 
said  Snow-white.  She  took  a  little  pair  of  scissors  out  of  her 
pocket  and  cut  the  dwarf's  beard  off  close  to  the  tree. 

No  sooner  was  he  free  than  he  caught  up  a  bag  full  of 
gold  \vhich  was  lying  among  the  roots  of  the  tree,  swung  it 
over  his  shoulder,  and  walked  away. 

As  he  went  he  said  something  about  stupid  children  who 
had  cut  his  beautiful  white  beard.  And  so,  grumbling  and 
without  one  word  of  thanks,  he  was  soon  out  of  sight. 

Sugg^estions. 

Kindness.     Unthankfuluess. 

V. 

Preparation. 

The  dwarf  in  trouble  again.  The  children  imagine  what 
his  trouble  may  be.  Explanation  of  river-bank.  Explain 
rushes. 


78  THE  STORY  IN  PRIMARY  INSTRUCTION. 

Narration. 

THE   DWAEP  FISHING. 

One  pleasant  summer  day  Snow-white  and  Rose-red  went 
down  to  the  river.  As  they  sat  on  the  bank  they  saw  some- 
thing which  they  thought  was  a  big  grasshopper  jumping 
about.  They  went  closer,  to  see  what  it  could  be,  and  then 
they  saw  it  was  the  dwarf. 

"What  are  you  doing?"  asked  Rose-red;  "are  you  trying 
to  jump  into  the  water?"  "Do  you  take  me  for  a  fool?"  cried 
the  dwarf.  "Don't  you  see  that  this  fish  is  trying  to  drag  me 
into  the  river?" 

Sure  enough,  the  children  saw  that  the  dwarf  was  in  trouble 
again.  He  was  fishing,  and  the  wind  had  blown  his  long  beard 
about  so  that  it  had  become  tangled  in  the  fish  line.  A  large 
fish  was  caught  upon  the  hook,  and  it  was  pulling  as  hard  as 
it  could  to  get  away. 

The  dwarf  held  on  by  one  hand  to  the  rushes  on  the  river 
bank,  while  with  the  other  hand  he  tried  to  untangle  his  beard 
from  the  line.  But  the  fish  was  stronger  than  the  dwarf,  and 
if  the  sisters  had  not  held  on  to  him  with  all  tlieir  might  he 
would  surely  have  been  dragged  into  the  water  and  drowned. 

They  tried  hard  to  free  him.  but  could  not.  Snow-white 
had  to  take  out  her  little  scissors  again,  and  this  time  she  had 
to  cut  off  a  long  piece  of  the  dwarf's  beard.  The  dwarf  was 
saved,  but  he  was  in  a  great  rage  because  his  beard  was  cut. 


SNOIV-IVHITE  AND  ROSE-RED.  79 

He  jumped  about  and  scolded  the  children  until  he  was  tired. 

Then  he  lifted  up  a  bag  of  pearls,  which  he  had  hidden 

among  the  rushes.    Throwing  it  over  his  shoulder,  he  went  ofi. 

Suggrestions. 

Talk  of  rivers  seen  by  members  of  the  class,  the  uses  of  rivers,  fishing,  etc. 
Kindness  of  Snow-white  and  Rose-red.     Uuthankfulness   of  the  dwarf. 


VI. 

Preparation. 

The  dwarf  is  saved  from  an  eagle.  What  danger  the  dwarf 
could  be  in  and  how  he  could  be  saved.  Recall  former  mention 
of  eagle. 

Narration. 

THE   DWARF   AND    AN   EAGLE. 

One  afternoon  the  mother  sent  Snow-white  and  Rose-red 
to  town  to  buy  some  things  for  her.  They  walked  through 
the  woods  and  finally  came  to  an  open  place.  No  trees  grew 
here.  It  was  covered  with  bushes,  and  great  rocks  were  lying 
about. 

As  the  children  walked  along  they  saw  an  eagle  flying  in 
great  circles  in  the  sky.  At  last  he  pounced  down  u]ion 
something.     What  it  was  the  sisters  could  not  see,  but  they 


80  THE  STORY  IN  PRIMARY  INSTRUCTION, 

heard  loud  cries  for  help.  Snow-white  and  Rose-red  ran  to 
the  spot  from  which  the  cries  came.  And  then  they  saw  the 
poor  dwarf  in  great  trouble. 

The  eagle  had  him  in  his  strong  claws  and  was  carrying  him 
away.  The  children  caught  hold  of  the  dwarf's  coat  and  held 
on  with  all  their  might.  The  big  bird  beat  them  with  his  great 
wings.  He  pecked  at  them  with  his  strong  bill,  but  the} 
hung  on  to  the  dwarf's  coat.  At  last  the  eagle  let  the  dwarf 
go  and  flew  away. 

At  first  the  dwarf  could  not  speak,  but  stood  trembling 
with  fright.  When  he  was  able  to  speak  he  said  in  a  fretful 
voice,  "What  do  you  mean  by  being  so  rough?  See,  you 
have  torn  my  beautiful  brown  coat  nearly  ofif  my  back!" 

Then  he  turned  from  them,  picked  up  a  bag,  flung  it  over 
his  shoulder,  and  went  off.  The  children  could  hear  him 
scolding  about  his  beautiful  brown  coat  as  he  went. 

Suggestions. 

The  eagle,  its  habits,  etc. 

The  bravery  of  Rose-red  and  Snow-white. 

VII. 

Preparation. 

The  dwarf  is  punished  for  vvrong  doing.    Snow-white  and 

Rose-red  see  the  bear  again. 


SNOW-WHITE  AND  ROSE-RED.  31 

Recall  the  bear's  visit  and  the  reason  of  his  going  away. 
Explain  precious  stones. 

Narration. 
THE  BEAR  AGAIN. 

After  Snow-white  and  Rose-red  had  seen  the  dwarf  dis- 
appear behind  the  rocks  they  went  on  to  town.  Tliey  got  the 
things  for  which  they  were  sent  and  started  back  on  their  way 
home. 

As  they  were  walking  along  they  saw  the  dwarf.  He  was 
sitting  among  the  rocks.  He  had  emptied  the  bag  of  precious 
stones  upon  the  ground  and  was  admiring  them.  How  the 
stones  sparkled  and  flashed  in  the  sunlight!  Snow-white  and 
Rose-red  stopped  to  admire  them,  too. 

"What  are  you  staring  at?"  cried  the  dwarf.  "Go  on  about 
your  business."  He  sprang  to  his  feet  as  if  to  drive  them 
away,  when  all  at  once  a  terrible  growl  was  heard  and  a  big 
brown  bear  rushed  out  of  the  bushes. 

The  dwarf  tried  to  run  away,  but  the  bear  stood  right  in 
his  path.  Then  the  dwarf  began  to  beg  in  a  trembling  voice, 
"O,  dear  Mr.  Bear,"  he  said,  "spare  my  life.  I  am  such  a 
poor  little  creature.  I  would  not  be  a  mouthful  for  you.  See, 
here  are  two  nice,  plump  little  girls.  Eat  them  instead  of  me." 
But  the  bear  paid  no  attention  to  him.     Without  a  word  he 


82  THE  STORY  IN  PRIMARY  INSTRUCTION. 

lifted  up  his  fore  paw  and  with  one  blow  laid  the  dwarf  dead 
upon  the  ground. 

Snow-white  and  Rose-red,  in  a  great  fright,  were  running 
away;  but  the  bear  called  to  them,  "Snow-white,  Rose-red, 
do  not  be  afraid;  it  is  I,  your  old  friend  and  playmate." 

They  knew  his  voice  and  stopped  to  wait  for  him.  But 
imagine  how  surprised  they  were 'when  the  shaggy  bearskin 
fell  to  the  ground  and,  instead  of  a  big  bear,  a  handsome 
young  man  in  splendid  dress  stood  before  them ! 

"I  am  a  king's  son."  he  said;  "and  that  wicked  dwarf 
changed  me  into  a  bear  and  robbed  me  of  nearly  all  my 
treasures.  I  have  been  obliged  to  wander  about  in  the  woods. 
At  last  he  is  dead  and  I  am  free." 

Not  many  years  afterwards  Snow-white  was  married  to 
the  prince  and  Rose-red  to  his  brother. 

The  sisters  took  their  dear  mother  to  live  with  them  in  the 
prince's  palace,  and  they  all  lived  happily  forever  after. 

The  rose  bushes  were  taken  to  the  new  home  and  planted 
in  the  palace  garden.  There,  year  after  year,  they  bore  sweet 
red  and  white  roses — just  as  they  had  done  in  the  little  garden 
in  the  woods. 

Sugrgestions. 

Punishment.    Gratitude. 
Explain  prince,  king,  palace. 


THE  COCK  AND  THE  HEN.  83 


THE  COCK  AND  THE  HEN. 

I. 
Preparation. 

This  is  a  story  of  a  cock  and  a  hen  who  went  to  a  nut  moun- 
tain, and  of  what  happened  there. 

A  talk  about  why  they  would  go  there  and  what  they  would 
find." 

Narration, 

ON  THE   MOUNTAIN. 

A  cock  once  said  to  a  hen,  '*It  is  now  the  time  when  the 
nuts  are  ripe.  Let  us  go  to  the  nut  mountain  and  eat  all  wc 
can  before  the  squirrels  carry  them  all  away,"  "Yes,"  said 
the  hen;  "let  us  go  and  enjoy  ourselves." 

So  they  went  to  the  mountain  together  and,  as  it  was  a 
ij  bright,   sunny  day,  they  stayed  there  until  evening.      Now. 

I  whether  it  was  because  they  had  eaten  too  much,  or  whether 

i 

they  were  too  proud,  I  do  not  know:  but  they  did  not  want  to 


84  THE  STORY  IN  PRIMARY  INSTRUCTION. 

go  home  on  foot.  The  cock  thereupon  buih  a  small  wagon 
out  of  the  nut  shells  lying  about. 

When  the  wagon  was  ready,  he  seated  himself  in  it  and 
said  to  the  hen,  "You  be  my  horse  and  pull  the  wagon  for 
me."  "Indeed,  I  will  not,"  said  the  hen;  "you  be  the  horse 
yourself.  I  will  get  upon  the  seat  and  be  driver.  I  would 
rather  walk  home  than  be  your  horse  and  pull  the  wagon," 

While  they  were  quarreling,  a  duck  carne  out  of  the  bushes. 
She  was  very  angry  and  said,  "Who  has  given  you  permission 
to  eat  nuts  on  my  nut  mountain?  Wait  a  minute  and  it  will 
cost  you  dearly."  Then  she  rushed  at  the  cock  with  out- 
stretched neck  to  bite  him.  But  the  cock  flew  at  the  duck 
and  pecked  her  and  struck  her  with  his  sharp  spurs  till  she 
was  glad  enough  to  stop  fighting.  The  cock  then  harnessed 
the  duck  to  the  wagon.  He  and  the  hen  got  in  and  away  they 
went  down  the  mountain. 

Susrgrestions. 

A  talk  with  the  children  about  autumn,  and  about  different  kinds  of 
nuts.  Animals  that  eat  them.  What  animals  hoard  them  for  winter  use? 
How  does  the  hen  differ  from  the  duck  ?  Why  ?  etc.  Their  food  and  their 
homes. 

The  quarrel.  Who  was  to  blame?  Who  was  proud?  Who  was  pun- 
ished? Who  was  punished  in  "Seven  Little  Goats"?  In  "Red  Riding 
Hood"  ?    In  "Mother  Frost"  ?    In  "Snow-white  and  Rose-red"  ? 


I 


THE  COCK  AND  THE  HEN.  85 


II. 


Preparation. 

On  their  way  home  the  cock  and  the  hen  overtake  two 
travelers. 

Test  the  children's  knowledge  of  travelers  and  travel. 

Narration. 

THE   TRAVELERS. 

The  cock  and  the  hen  had  not  gone  far  when  they  heard  a 
voice  calling  to  them  to  stop.  The  cock  told  the  duck  to  stop, 
and  found  that  they  had  overtaken  a  pin  and  a  needle  travel- 
ing along  the  road.  The  cock  asked  them  what  they  wanted. 
The  needle  said,  "It  is  now  getting  dark  and  we  fear  that  we 
shall  lose  our  way.  I  have  but  one  eye  and  the  pin  has  none 
at  all.    Please  be  so  good  as  to  let  us  ride  with  you." 

At  first  the  cock  said,  "No;"  but  the  travelers  begged  so 
hard  that  he  at  last  consented.  "You  are  so  small,"  he  said, 
"that  you  will  take  up  no  room.  But  you  must  be  very  care- 
ful not  to  tread  on  the  hen's  toes." 

They  promised  to  be  very  careful  and  climbed  into  the 
wagon  at  once.     The  cock  told  the  duck  to  go  on.     "You 


86  THE  STORY  IN  FRIMARY  INSTRUCTION. 

must  be  quick,  Mrs.  Duck,"  he  said,  "or  we  shall  not  get  home 
to-night."  So  the  duck  waddled  along  as  fast  as  she  could. 
She  could  not  go  much  faster,  for  she  was  getting  tired. 

Sugrgrestions. 

Different  ways  of  traveling. 

Who  was  polite .?    Tell  who  was  polite  in  the  previous  stories  ?    Who 
was  kind  ? 


III. 


Preparation. 

Where  they  passed  the  night  and  what  happened.  A 
promise. 

The  main  ideas  tested.  How  did  the  little  girl  in  "Star- 
dollars"  pass  the  night?  Where  do  travelers  usually  stay  at 
night? 

Explain  inn.    Innkeeper. 

Narration. 

AT   THE   INN. 

Late  in  the  evening  they  came  to  an  inn;  and  because  the 
duck  was  tired  and  the  night  dark,  they  drove  up  to  the  door. 

The  cock  asked  the  innkeeper  if  they  might  stay  over 
night.     The  innkeeper  did  not  like  their  looks  and  said  at 


i 


THE  COCK  AND  TUB  HEN.  87 

first,  "No,  I  have  no  room,  and  1  think  you  have  no  money." 
But  the  cock  replied,  "You  shall  have  the  egg  that  the  hen  has 
laid  and  the  one  the  duck  lays  every  day."  So  the  innkeeper 
consented.  They  all  went  in,  ate  their  supper,  and  lay  down 
to  sleep. 

The  next  morning,  long  before  the  other  people  at  the 
hotel  were  up,  the  cock  and  the  hen  took  the  egg,  broke  it, 
and  ate  it  together.  The  shell,  however,  they  threw  into  the 
ashes  in  the  fireplace.  They  then  waked  up  the  needle  and 
the  pin.  The  needle  they  stuck  into  the  innkeeper's  chair  and 
the  pin  into  his  towel.  The  duck,  who  slept  in  the  yard,  heard 
them  stirring  around  and  flew  to  the  brook  and  swam  away. 
The  cock  and  the  hen  then  hurried  on  to  their  home. 

Suggestions. 

Fireplace.     How  are  our  houses  heated  ?    Stoves,  furnaces,  steam,  etc. 
Was  the  promise  kept?    Describe  the  conduct  of  the  cock  and  the  hen. 

IV. 

Preparation, 

This  part  tells  what  happened  to  the  innkeeper  when  he 
got  up  next  morning.    Tell  what  you  think  happened. 


88  THE  STORY  IN  PRIMARY  INSTRUCTION. 

Narration. 

THE   INNKEEPER. 

In  a  couple  of  hours  after  the  duck  had  taken  to  the  water 
and  the  cock  and  the  hen  had  hurried  away,  the  landlord 
awoke.  He  got  up,  put  on  his  clothes,  washed  himself,  and 
reached  for  the  towel.  As  he  wiped  his  face  the  pin  made  a 
deep  red  scratch  across  his  cheek.  This  made  him  angry. 
Then  he  went  into  the  kitchen  to  light  his  pipe.  As  he  leaned 
over  the  fireplace  to  get  a  coal,  the  eggshell  burst  and  scattered 
the  ashes  into  his  face  and  eyes.    This  made  him  more  angry. 

He  went  to  his  chair  to  sit  down,  but  quickly  jumped  up 
again  and  cried  "Ouch!"  Now  he  was  very  angry  and  said, 
"Those  ragamuffins  that  came  here  so  late  last  night  did  this." 
He  went  to  find  them,  but  they  could  not  be  found.  Then  he 
said,  "Never  again  will  I  take  such  people  into  my  house. 
They  eat  and  drink  and  pay  nothing,  and  play  tricks  on  me 
besides." 

Svig-gestions. 

What  made  the  eggshell  burst?    Do  you  know  anything  that  explodes? 
Conduct  of  the  cock  and  the  hen  at  the  inn.       The  broken  promise. 
Did  the  innkeeper  deserve  such  treatment? 


DEATH  OF  The  cock.  89 

DEATH  OF  THE  COCK. 

I. 

Preparation. 

This  story  tells  of  the  death  of  the  cock  oti  the  nut  moun- 
tain, of  the  sorrow  of  the  hen,  and  of  all  the  animals;  about 
the  funeral,  and  at  last  about  the  death  of  the  hen. 

How  do  you  suppose  the  cock  met  his  death  on  the  nut 
mountain? 

Karration. 

DEATH   OF   THE   COOK. 

Another  time  the  cock  and  the  hen  went  to  the  nut  moun- 
tain. It  was  a  fine  day  and  they  were  in  the  best  of  spirits. 
"Let  us  make  a  promise,"  said  the  cock,  "that  the  first  one  that 
finds  a  nut  will  share  it  with  the  other."  "I  agree  to  that," 
said  the  hen. 

The  cock  was  the  first  to  find  a  nut.  It  was  a  fine,  large 
one.  He  did  not  say  anything  about  it,  for  he  wanted  it  all 
himself.     The  kernel,  however,  was  so  large  that  it  stuck  in 


90  THE  STORY  IN  PRIMARY  INSTRUCTION. 

his  throat.  He  tried  every  way  to  get  it  out,  but  there  it 
stuck.  He  at  last  cried  to  the  hen,  "Dear  hen,  run  quick  and 
fetch  me  some  water  or  I  shall  choke  to  death."  The  hen  ran 
as  fast  as  she  could  to  the  brook.  But  before  she  could  get 
back  the  cock  had  choked  to  death. 

Suggestions. 

Tell  about  the  conduct  of  the  cock.  Who  acted  like  the  cock  in  the 
stories  we  have  had  ?  Who  shared  food  with  others  ?  The  cock's  punish- 
ment. 


II. 

Preparation. 

The  animals  were  all  sorry  for  the  hen  and  came  to  help  her 
at  the  funeral. 

Kstrration. 

THE   FUNERAL. 

When  the  hen  returned  and  found  her  mate  dead,  she  was 
very  sorry,  and  she  began  to  cry  in  a  loud  voice.  While  she 
was  crying  there  came  six  little  mice,  running  up  to  see  what 
was  the  matter.  They  felt  sorry  for  the  poor  hen  and  said, 
"Poor  hen,  we  will  help  you."    Then  they  made  a  little  wagon 


DEATH  OF  THE  COCK.  91 

and  placed  the  dead  cock  in  it.  When  this  was  done,  they 
harnessed  themselves  to  the  wagon.  Then  they  said,  "We 
will  draw  the  cock  to  his  grave."  The  hen  walked  behind, 
weeping,  and  they  all  set  out  to  bury  the  cock. 

On  the  way  they  met  a  fox.  The  fox  said,  "What  is  the 
matter,  hen?"  "Oh!"  said  the  hen,  "the  cock  is  dead  and  we 
are  going  to  bury  him."  "I  am  sorry,"  said  the  fox.  "May  I 
go  to  the  funeral?"  As  they  went  along  they  met  a  wolf,  a 
bear,  a  hare,  a  lion,  and  many  other  animals.  They  were  all 
sorry  and  asked  to  be  allowed  to  go  to  the  funeral. 

Sugf^estions. 

The  animals  mentioned;  the  largest;  the  smallest;  the  strongest;  their 
homes;  their  food,  etc.     Different  kinds  of  wagons. 

The  conduct  of  the  animals.  Who  was  helpful  in  "Stardollars"  ?  In 
"Seven  Little  Goats"  ?  In  "Red  Riding  Hood"?  Do  you  think  of  any 
others  that  were  helpful  ? 

III. 
Preparation. 

The  story  tells  us  of  the  trouble  the  hen  and  the  other 
animals  had  in  crossing  a  river.  Have  children  suggest  ways 
of  crossing  the  river. 

Narration. 

CROSSING  THE   RIVER. 

The  six  little  mice  went  on  with  the  wagon.  The  hen  and 
her  friends  walked  behind.    They  passed  through  a  forest  and 


y2  THE  STORY  IN  PRIMARY  INSTRUCTION. 

across  a  meadow,  and  finally  came  to  a  river.  There  was  no 
bridge  over  this  river;  but  as  the  procession  came  to  the  river 
bank  a  straw,  which  lay  there,  wanted  to  be  helpful  and  said, 
"I  will  be  your  bridge."    Then  he  laid  himself  across  the  water. 

The  little  mice  tried  first  to  cross.  They  stepped  upon  the 
straw  bridge  and  snap!  it  broke.  All  the  mice  fell  into  the 
water  and  were  drowned.  A  coal  then  happened  to  come 
along.  He  said,  "I  am  big  enough;  I  will  lay  myself  over  the 
water."  He  had  hardly  touched  the  water  when  he  sank  to 
the  bottom. 

The  poor  hen  was  very  much  frightened  and  did  not  know 
what  to  do.  Just  then  a  long  stone,  that  lay  near  and  had 
seen  all  that  had  happened,  laid  himself  over  the  river.  The 
hen  took  the  wagon  herself  and  drew  it  over  safe  to  the  other 
side. 

All  the  animals  tried  to  go  over,  but  there  were  so  many 
of  them  that  the  stone  broke  and  they  fell  into  the  river  and 
were  drowned.  Then  the  hen  was  alone  again.  She  dug  a 
grave,  laid  the  cock  in  it,  and  made  a  little  mound  over  it. 
When  she  had  done  this,  the  hen  sat  upon  the  grave  and 
grieved  over  the  death  of  the  cock  till  she,  too,  died. 

Sugrgestions. 

In  which  stories  have  you  heard  of  a  forest  ?  Of  meadows  ?  Of  broo3s:s? 
Of  rivers  ? 

Explain  bridges,  materials  of,  etc. 


BIKDIL  AND  LENA.  93 

BIRDIE  AND  LENA. 

':^  I. 

Preparaption. 

A  story  of  a  little  child  who  was  found  by  a  hunter  in 
an  eagle's  nest.  Children  tell  what  they  know  about  the  eagle 
In  what  story  did  we  learn  about  the  eagle? 

Narration. 

HOW   THE   HUNTKB   FOUND   BIRDIE. 

Once  upon  a  time  a  mother  was  walking  through  a  woods 
with  a  little  child  in  her  arms.  She  became  very  tired  and  sat 
down  under  a  tree  to  rest.  She  fell  asleep  as  she  sat  there,  and 
the  baby  slept  in  her  lap. 

By  and  by  an  eagle  that  was  flying  far  overhead  saw  the 
child  in  the  mother's  lap.  He  flew  down,  caught  up  the  child 
in  his  strong  claws,  and  carried  it  away  to  his  nest  in  a  great 
oak  tree. 

A  hunter  saw  the  eagle  flying  towards  the  oak  tree.  He 
thought  that  he  saw  something  strange  in  the  eagle's  claws. 


M  THE  STORY  IN  PRIMARY  INSTRUCTION. 

He  waited  until  the  eagle  had  laid  the  child  in  his  nest.  Then 
the  hunter  fired  his  gun.  The  noise  frightened  the  eagle 
away. 

Climbing  the  tree,  the  hunter  found  the  little  baby  lying  in 
the  eagle's  nest.  He  took  the  little  one  in  his  strong  arms 
and  carried  it  home  with  him.  He  had  but  one  child — a  little 
daughter  whose  name  was  Lena. 

When  he  brought  the  little  one  home  he  said,  "Here  is  a 
little  sister  for  you,  Lena.  We  will  call  her  Birdie  because  I 
found  her  in  an  eagle's  nest."  Lena  was  glad  to  see  the  baby 
girl,  and  kissed  her.  The  two  children  played  and  ate  and 
slept  together.  They  grew  to  love  each  other  so  much  that,  if 
they  were  parted  for  even  a  little  while,  they  felt  lonely  and 
sad. 

Sugrpestions. 

Talk  about  the  hunter  and  hunting  wild  animals. 

II. 

Preparation. 

The  cook  in  the  hunter's  home  did  not  like  Birdie.  Re- 
call characters  in  preceding  part  of  story.  Talk  about  work  of 
the  cock  and  the  idea — housekeeper. 


BIRDIE  AND  LENA.  95 

Narration. 

THE  COOK. 

An  old  woman  lived  in  the  hunter's  home.  She  was  the 
cook.  She  was  busy  all  day  long  doing  the  work  and  taking 
care  of  the  children,  for  Lena's  mother  was  dead. 

The  hunter  went  out  early  in  the  morning.  At  night  he 
came  home,  bringing  what  he  had  shot  in  the  woods.  Then 
he  played  with  the  children  or  told  them  wonderful  stories. 

Lena  and  her  father  both  loved  Birdie  dearly  and  were  al- 
ways kind  to  her.  But  the  old  cook  did  not  love  her  at  all. 
She  was  angry  when  the  hunter  brought  the  little  child  home. 
She  had  more  work  to  do  caring  for  two  children  than  for 
one;  and  the  children  were  often  noisy  in  their  play.  All  this 
made  the  old  cook  dislike  Birdie.  So  she  made  up  her  mind 
to  get  rid  of  her. 

A  great  iron  pot  stood  in  the  kitchen.  One  day  Lena  saw 
the  old  cook  carrying  pails  of  water  from  the  spring  near  the 
house.  She  poured  the  water  into  the  big  pot  and  went  for 
more.     This  she  did  again  and  again. 

Lena  wondered  why  she  was  doing  this.  She  asked, 
"Why  are  you  carrying  in  so  much  water?"  The  cook  looked 
around  to  see  if  anyone  else  were  near.  Then  she  whispered 
to  Lena,  ''I  will  tell  von,  Lena,  if  vou  nromise  never,  never  to 


96  THE  STORY  IN  PRIMARY  INSTRUCTION. 

tell  anyone."  Lena  promised.  Then  the  old  woman  said,  "I 
do  not  like  Birdie.  I  am  filling  this  big  pot  with  water  and 
to-morrow,  when  your  father  is  gone,  I  will  drown  her  in  it." 

Sugg-estions. 

Talk  of  springs;  cooking;  value  of  good  cooking, 

III. 
Preparation. 

Birdie  is  saved  by  Lena.  Talk  of  Birdie's  danger.  Chil- 
dren imagine  how  she  might  be  saved. 

Narration. 

HOW  BIRDIE  WAS  SAVED* 

Lena  felt  very  sad  indeed  when  the  old  cook  said,  "I  am 
going  to  drown  Birdie."  Oh,  how  sorry  she  was  that  she  had 
made  such  a  promise!  All  day  long  she  thought  about  it  and 
grew  sadder  and  sadder.  Birdie  would  ask,  "What  is  the  mat- 
ter, dear  Lena?"  But  Lena  would  say,  "I  cannot  tell  you, 
Birdie." 

Night  came  and  the  children  went  to  bed;  but  Lena  could 
not  sleep.  At  last  she  said  to  herself,  "That  was  not  a  good 
promise.  I  will  not  keep  it."  So  she  woke  Birdie  and  told 
her  all  about  what  the  old  cook  had  said  and  done. 


BIRDIE  AND  LENA.  97 

Then  she  said,  "But  I  can  save  you,  Birdie,  if  you  will 
trust  me  and  do  just  as  I  say."  "O,  Lena,"  said  Birdie,  "I 
do  trust  you.  I  know  you  love  me  and  I  will  do  just  as  you 
say."  "Then,"  said  Lena,  "let  us  get  up  and  dress  ourselves. 
We  will  slip  quietly  out  of  the  house  and  hide  in  the  forest  be- 
fore the  old  cook  is  up."  So  the  children  dressed  themselves. 
They  went  softly  out  of  the  house  and  ran  far  away  into  the 
forest. 

When  the  hunter  had  eaten  his  breakfast  and  left  the  house, 
the  old  cook  went  to  the  children's  room  to  get  Birdie.  How 
astonished  she  was  to  find  the  bed  empty  and  both  the  children 
gone.  How  frightened  she  felt  when  she  thought  of  the 
hunter's  anger  when  he  should  come  home.  "Oh,"  she  cried, 
"what  shall  I  say  when  the  hunter  comes  home  and  finds  that 
the  children  are  gone?" 

Sug^gestions. 

Breaking  a  bad  promise. 
Apprehensions  of  evil  doers. 


IV. 


Preparation. 

The  cook  sends  servants  to  find  the  two  girls,  but  they 
are  not  successful.  Children  imagine  where  the  servants  will 
search  for  Lena  and  Birdie. 


98  THE  STORY  IN  PRIMARY  INSTRUCTION. 

Narration. 

THE  SEARCH . 

The  cook  sent  the  servants  to  look  for  Birdie  and  Lena. 
They  went  into  the  woods  looking  everywhere,  behind  trees 
and  among  the  bushes.  Lena  saw  them  coming  towards  the 
place  where  she  and  Birdie  were  hiding.  "Birdie,"  she  said, 
"will  you  do  just  as  I  say?"  ''Yes,  Lena,"  said  Birdie,  "I  will." 
"Then,"  said  Lena,  "we  must  change  quickly  so  that  the  serv- 
ants will  not  find  us.  You  must  be  a  rosebush,  Birdie,  and  I 
will  be  a  red  rose  growing  upon  it."  As  she  spoke  they  were 
changed.  Birdie  became  a  rosebush  and  Lena  a  sweet  red  rose 
growing  upon  it. 

The  servants  came  and  looked  all  around  for  the  children; 
but,  as  they  could  not  find  them  anywhere,  they  went  back  to 
the  house.  The  old  cook  was  at  the  window  watching  anx- 
iously for  them.  "Where  are  the  children?"  she  cried.  "We 
could  not  find  them,"  answered  the  servants.  "We  thought 
once  that  we  saw  them,  but  when  we  reached  the  place  they 
were  nowhere  to  be  seen.  There  was  nothing  there  but  a  rose- 
bush with  a  rose  upon  it." 

"O  you  stupid  things,"  cried  the  cook;  "why  did  you  not 
bring  me  the  rose?    Go  back  and  get  it." 


BIRDIE  AND  LENA,  88 

V. 

Preparation. 

The  servants  try  to  find  the  rosebush  and  the  rose.  The 
children  escape  again.    Children  imagine  how  they  escape. 

Karration. 

THE  SERVANTS  GO  AGAIN  TO  THE  FOREST. 

When  the  old  cook  said,  "Go  back  to  the  forest  and  bring 
me  the  rose,"  the  servants  went  back.  As  they  came  near  the 
place  where  they  had  seen  the  rosebush  and  rose,  Lena  saw 
them  coming.  "We  must  change  again,  dear  Birdie,"  she 
said.     "You  must  be  a  church  and  I  will  be  the  steeple." 

When  the  servants  came  to  the  place  the  rosebush  and  the 
rose  were  gone.  And  there  stood  a  tiny  church  with  a  tall 
steeple!  The  servants  were  astonished.  They  said  to  one 
another,  "I  did  not  see  that  church  here  before.  Did  you? 
Well,  we  can  not  find  the  rosebush  and  rose,  so  we  may  as 
well  go  back.    My!  but  won't  the  old  cook  be  cross?" 


100  THE  STORY  IN  PRIMARY  INSTRUCTION, 

VI. 
Preparation. 

The  cook  goes  out  to  look  for  the  children  and  is  punished. 
Talk  of  cook's  wicked  plan  and  what  her  punishment  may  be. 
Explain  pond. 

Narration. 

THE  COOK  PUNISHED. 

So  the  cook  set  out  to  look  for  the  children  herself  and  the 
servants  went  with  her.  By  and  by  they  came  near  the  place 
where  Birdie  and  Lena  were.  Lena  saw  them  coming  be- 
cause she  was  the  steeple  and  could  see  far  around  her.  "O 
Birdie,"  she  cried,  "here  comes  the  old  cook.  We  must  change 
again.  You  must  be  a  pond,  dear  Birdie,  and  I  will  be  a  duck 
swimming  upon  the  pond." 

It  was  no  sooner  said  than  done;  and  when  the  old  woman 
and  the  servants  came,  the  church  and  the  steeple  had  disap- 
peared. And  there,  among  the  trees,  they  saw  a  little  pond 
with  a  snow-white  duck  swimming  upon  it.  "There  they  are," 
cried  the  wicked  old  woman;  "I  am  going  to  drink  all  that 


BIRDIE  AND  LENA.  101 

water  up."  And  so  saying  she  stooped  down  to  drink  up  all 
the  water;  but  she  lost  her  balance  and,  falling  head-first  into 
the  pond,  was  drowned. 

Birdie  and  Lena  took  back  their  own  shapes  again.  You 
may  be  sure  the  servants  were  astonished  when  they  heard  the 
whole  story.  As  for  the  old  cook,  they  said,  "She  was  a  wicked 
woman;  she  is  well  punished." 

The  children  went  back  to  the  house  and,  when  the  hunter 
came  home,  told  him  all  about  the  old  woman's  wicked  plan 
and  how  Birdie  was  saved.  He,  too,  said,  "She  was  a  wicked 
woman.  She  is  well  punished."  And  now  that  the  old  cook 
was  gone.  Birdie  and  her  kind  friends  lived  happily  together 
all  the  rest  of  their  lives. 

Sug^gestions. 

Punishment.     Recall  punishment  in  previous  stories. 


102  THE  STORY  IN  PRIMARY  INSTRUCTION. 

THE  WOLF  AND  THE  FOX. 

I. 

Preparation. 

A  wolf  made  a  fox  get  his  food  for  him.  He  made  him 
take  food  from  farmers'  yards  and  houses. 

What  kind  of  food  would  a  wolf  find  in  a  farmer's  yard? 

Narration. 

AT   THE  FARMYARD. 

Once  upon  a  time  a  wolf  caught  a  fox  and  kept  him  as  a 
servant.  Whatever  the  wolf  said,  the  fox  must  do.  One  day 
they  were  going  through  a  forest  and  the  wolf  said  to  the  fox, 
"Get  me  some  food  or  I  will  eat  you."  The  fox  said,  "I  know 
a  farmyard  where  there  are  two  young  lambs  which,  if  you 
wish,  I  will  fetch  for  you?"  This  pleased  the  wolf  very  much. 
They  went  to  the  farmyard  and  the  fox,  slipping  slyly  into  the 
yard,  stole  a  fine  young  lamb  and  brought  it  to  the  wolf. 

When  he  had  done  this  he  ran  away,  leaving  the  wolf  alone 
to  enjoy  his  dinner.    The  wolf  quickly  devoured  the  lamb,  but 


THE  WOLF  AND  THE  FOX.  103 

did  not  feel  satisfied.  He  wanted  more,  and  went  to  get  the 
other  lamb  from  the  yard.  But  he  was  so  clumsy  and  made 
so  much  noise  that  the  mother  sheep  heard  him.  She  cried 
out,  "Baa!  baa!"  This  wakened  the  farmers  and  they  came 
running  to  help  her.  They  found  the  wolf  and,  before  the  thief 
could  get  over  the  fence,  they  beat  him  severely.  He  ran 
limping  to  the  fox  and  said,  "You  have  led  me  into  a  fine 
place!  When  I  went  to  get  the  other  lamb  the  farmers  came 
out  and  beat  me  terribly." 

"That  is  because  you  are  such  a  glutton,"  said  the  fox. 
"You  always  want  too  much." 

Suggestions, 

Compare  wolf  aiul  fox,  their  homes,  food,  etc. 

Explain  glutton. 

Describe  the  conduct  of  the  wolf.     Did  he  deserve  punishment!? 

II. 

Preparation. 

The  wolf  and  the  fox  visit  a  farm  house  to  get  some  pan- 
cakes. 

Narration. 

AT  THE  FARM   HOUSE. 

The  next  day  the  wolf  and  the  fox  again  went  into  the 
forest  and  the  greedv  wolf  said  to  tlie  fox.  "Get  me  something 


104  THE  STORY  IN  PRIMARY  INSTRUCTION. 

to  eat  right  quick  or  I  will  eat  you!"  The  fox  said  he  knew 
of  a  farm  house  near  by  where  the  cook  was  going  to  make 
some  pancakes  that  very  day.    So  they  turned  and  went  there. 

When  they  got  there  the  sly  fox  crept  up  very  quietly  and 
entered  the  house.  He  sneaked  around  till  he  found  where  the 
dish  was  that  held  the  pancakes.  He  then  slyly  drew  out  six 
of  the  cakes  and  took  them  to  the  wolf,  saying,  "Here  is  some- 
thing for  you  to  eat,"  and  ran  away  as  before. 

The  wolf  ate  them  and,  in  a  minute  or  two,  wishing  to 
have  more,  he  went  into  the  house  and  tried  to  get  some  out 
of  the  dish.  But  he  was  so  clumsy  that  he  knocked  the  dish 
down.  It  fell  with  a  loud  crash  and  was  broken  in  pieces.  The 
noise  alarmed  the  cook  who  came  running  out.  When  she 
saw  the  wolf  she  called  the  family.  The  farmer  came  and 
beat  him  with  such  good  will  that  he  ran  home  to  the  fox 
howling,  and  with  two  lame  legs. 

"What  a  fine  place  you  have  drawn  me  into  now!"  he 
cried.  "The  farmers  have  caught  me  again  and  dre&aed  my 
skin  till  my  bones  cracked."  "Why,  then,  are  j^tj  such  a 
glutton?"  asked  the  fox. 

HI. 
Preparation. 

On  the  third  day  they  visited  a  farmer's  cellar. 
Explain  cellar.    Food  found  there. 


THE  WOLF  AND  THE  FOX.  105 

Narration. 

IN   THE   CELLAR. 

They  went  out  again  the  third  day,  the  wolf  hmping  along 
very  painfully.  When  they  were  some  distance  from  home  the 
Avolf  said  to  the  fox,  "Get  me  something  to  eat  quick,  or  I 
will  eat  you." 

The  fox  said  he  knew  a  man  who  had  just  killed  a  pig 
and  salted  it  down  in  a  cask  in  his  cellar.  The  wolf  replied,  "I 
will  go  with  you  if  you  promise  to  help  me  if  we  get  into  trou- 
ble." "Of  course  I  will  help  you,"  caid  the  fox,  and  showed 
him  how  to  get  into  the  cellar. 

Once  in,  there  was  plenty  of  meat.  The  wolf  was  delighted 
at  the  sight  and  set  to  work  at  once.  The  fox,  too,  liked  meat; 
but  he  kept  looking  around  while  eating  and  running  now  and 
then  to  the  hole  through  which  they  came,  to  see  if  his  body 
would  still  slip  through  easily.  Presently  the  wolf  asked, 
"Why  are  you  running  about  so?"  "I  want  to  see  if  any  one 
is  coming,"  replied  the  cunning  fox.  "Mind  you  don't  eat  too 
much!" 

The  wolf  said  he  would  not  leave  till  all  the  meat  was  eaten. 

Meanwhile  the  farmer,  who  had  heard  the  noise  made  by 
the  pair  in  the  cellar,  walked  in.  The  fox,  as  soon  as  he  saw 
him,  made  a  spring  and  was  out  through  the  hole  in  a  jifYy. 

The  wolf  tried  to  follow,  but  he  had  eaten  so  much  that  his 


106  THE  STORY  IN  PRIMARY  INSTRUCTION. 

1)ody  was  too  big  for  the  hole  and  he  stuck  fast.    Then  came 
the  farmer  with  a  stout  cudgel  and  beat  him  to  death. 

The  fox  ran  away  into  the  forest,  very  glad  to  be  rid  of  his 
greedy  master. 

Suggestions. 

Farms,  farmers.      "Where  does  our  food  come  from  ?      Preserving  meat. 
Why  did  the  fox  serve  the  wolf  ?     Was  either  one  honest  ?     Who  was 
made  to  do  wrong  ? 


THE  STREET  MUSICIANS.  107 


THE  STREET  MUSICIANS. 

I. 

Preparation. 

Our  story  to-day  tells  of  four  animals  that  formed  a  plan  to 
go  to  a  city  called  Bremen  and  become  street  musicians.  But 
darkness  overtook  them  on  the  way  and  they  had  to  spend  the 
night  in  a  forest.  What  animals  might  become  musicians? 
What  music  can  each  one  make?  Tell  about  street  musicians 
you  have  seen.    What  kind  of  instruments  did  they  play  on? 

Narration. 

HOW   THE   MUSICIANS  CAME   TOGETHER. 

A  man  once  had  a  donkey  that,  for  many  years,  had  carried 
heavy  sacks  of  grain  to  the  mill  for  him.  At  last  the  donkey 
grew  old.  He  became  weak  and  could  no  longer  carry  heavy 
loads. 

One  day,  as  he  was  eating  hay  in  his  stall,  he  heard  his 
master  say,  "That  old  donkey  is  good  for  nothing.  I  am  not 
going  to  feed  him  any  longer.  When  he  dies  I  will  have  his 
tough  old  hide  for  a  cover  to  my  wagon." 

At  this  the  poor  donkey  felt  very  sad.     He  said  to  himself: 


108  THE  STORY  /.V  PRIMARY  INSTRUCTION. 

"1  have  worked  hard  for  my  master  all  these  years  and  now 
the  hard-hearted  man  cares  nothing  for  me  and  is  going  to 
turn  me  out  and  let  me  die  of  starvation.  But  he  is  mistaken 
about  that.  I  will  not  stay  here  to  die.  I  will  help  myself. 
I  have  always  had  a  beautiful,  strong  voice.  It  is  fine  and 
good  yet.  I  will  go  to  the  great  city,  Bremen,  and  be  a  street 
musician.  The  people  will  gladly  pay  to  hear  such  fine  music 
as  I  can  make;  and  with  the  money  I  can  buy  food  for  myself 
in  my  old  age." 

So  the  old  donkey  set  out  on  the  road  to  Bremen.  As 
he  walked  along  he  saw  a  dog  lying  by  the  roadside.  The  dog 
was  panting  and  seemed  very  tired.  The  donkey  stopped  and 
looked  at  him.  "What  is  the  matter  with  you?"  he  asked. 
"You  look  as  if  you  are  in  trouble." 

"Indeed,  I  am  in  trouble,"  said  the  dog.  "I  am  too  old 
and  weak  to  go  hunting  with  my  master  and  I  heard  him 
say  this  morning  that  he  intends  to  kill  me.  No  wonder  I  am 
sad."  The  donkey  replied:  "I  have  just  left  my  master  because 
he  was  going  to  turn  me  out  to  starve,  and  I  am  going  to 
Bremen  to  be  a  street  musician  and  earn  my  living.  You  may 
go,  too.  So  come  along;  we  will  go  together."  "That  I  will," 
said  the  dog.    So  the  two  went  on  side  by  side  toward  the  city. 

By  and  by  they  came  to  a  cat  sitting  on  a  fence  by  the 
roadside.  She  looked  as  though  she  had  not  a  friend  in  all 
the  wide  vvorld.     The  two  friends  stopped  to  speak  to  her. 


THE  STREET  MUSICIANS.  109 

"What  is  the  matter  with  you,  old  whiskers?"  said  the  donkey. 
"You  look  as  dismal  as  three  days  of  rainy  weather," 

"No  wonder,"  answered  the  cat.  "I  am  now  too  old  to 
catch  mice;  my  teeth  are  gone  and  my  claws  are  dull;  and  my 
heartless  master  says  he  is  going  to  drown  me  in  the  pond." 
"Cheer  up,"  said  the  donkey.  "We  two  are  going  to  be  mu- 
sicians. You  can  sing  tenor  to  our  bass.  You  are  just  the 
one  we  want.  Come  with  us  to  Bremen."  The  cat  thanked 
the  donkey  for  the  kind  invitation  and  said  she  was  delighted 
with  the  plan  and  would  go  gladly.  So  the  three  went  on 
towards  Bremen. 

As  they  were  passing  by  a  farm  they  saw  a  cock  perched 
upon  a  barn  door.  He  was  crowing  as  loud  as  he  could.  The 
donkey  called  out,  "What  ails  you,  old  red  comb?  You  are 
crowing  as  if  you  meant  to  split  your  throat."  "I  am  crowing 
while  I  can,"  said  the  cock;  "to-morrow  the  cook  is  going  to 
put  me  into  the  soup  pot."  And  he  went  on  crowing  louder 
than  ever.  "I  can  tell  you  something  better  than  that,"  said 
the  donkey.  "We  are  all  going  to  be  musicians.  You  have  a 
fine  voice,  so  come  with  us."  "Thank  you,"  said  the  cock. 
"I  will  gladly  go.  I  have  no  taste  for  soup."  He  flew  down, 
and  the  four  friends  went  on  merrily  together. 

Model  Treatment. 

Tell  what  the  donkey  hnd  none  all  bis  life.      Why  did  his  master  want 


110  THE  STORY  IN  PRIMARY  INSTRUCTION. 

to  get  rid  of  him?  Give  the  conversation  between  the  donkey  and  the  dog, 
the  donkey  and  each  of  the  other  animals. 

To  what  city  were  the  animals  going  ?  Bremen  is  a  large  city  in  Ger- 
many, across  the  ocean.  Do  you  know  any  one  that  has  come  from  Ger- 
many? Do  you  live  in  a  city  ?  In  what  large  city  have  you  been  ?  Which  is 
the  more  useful,  the  donkey  or  the  dog  ?  Tell  what  each  does  for  us.  Tell 
about  the  different  kinds  of  dogs  that  you  know.  What  do  shepherd  dogs 
do  ?    Newfoundland  dogs? 

Why  did  the  masters  wish  to  be  rid  of  these  animals  ?  How  should  ani- 
mals be  treated  in  their  old  age  ?  What  do  we  say  of  those  that  try  to  sup- 
port themselves  ? 

II. 

Preparation. 

I  will  now  tell  you  how  the  four  musicians  passed  the  night 
in  a  forest  on  the  way  to  Bremen,  and  what  happened  to  them 
there.  Do  you  remember  any  one  in  the  stories  we  have  heard 
that  passed  the  night  in  a  forest?  Tell  how  it  happened?  Why 
does  one  not  like  to  stay  in  a  forest  all  night?  What  dangers 
are  there  in  a  forest? 

Narration. 

IN   THE   FOREST. 

The  four  companions  could  not  reach  Bremen  in  one  day, 
so  must  pass  the  night  on  the  road.  Night  came  on  them  as 
they  were  passing  through  a  deep  forest.  They  could  no 
longer  see  the  way,  and  so  they  stopped.  The  donkey  leaned 
up  against  a  great  tree.    The  dog  lay  on  the  ground  beneath. 


JIH 


THE  STREET  MUSICIANS.  Ill 

the  cat  curled  herself  up  on  a  branch,  and  the  cock  flew  up  to 
the  very  top. 

After  a  time  the  cock  said,  "I  see  a  light.  It  seems  to 
come  from  the  window  of  a  house."  "Oh,"  said  the  donkey, 
"let  us  go  to  it;  perhaps  some  kind  people  live  in  the  house. 
They  may  give  us  something  to  eat.  I  am  hungry.  I  would 
like  a  mouthful  of  hay."  "1  would  be  thankful  for  even  a 
couple  of  bones,"  said  the  dog.  The  cat  and  the  cock,  too, 
were  hungry.    So  the  four  animals  went  on  toward  the  light. 

As  they  came  nearer  the  light  grew  larger  and  clearer. 
Finally  they  came  to  a  house,  the  home  of  a  band  of  robbers. 
The  donkey,  being  the  largest,  went  to  the  window  and  looked 
in.    "What  do  you  see?"  said  the  cock. 

"Oh!  I  see  a  table  with  all  kinds  of  good  things  to  eat  on 
it.  Around  it  there  seems  to  be  a  band  of  robbers,  eating  and 
drinking  and  having  a  merry  time,"  said  the  donkey. 

"There  must  be  something  there  for  us,"  said  the  cock. 
"Yes,  indeed!"  said  the  donkey.  "Some  of  that  food  must 
be  for  us."  The  four  animals  then  agreed  upon  a  plan  to 
frighten  the  robbers  away  from  the  house  so  that  they  might 
go  in  and  eat.  The  donkey  put  his  fore  feet  on  the  window 
sill.  The  dog  jumped  up  on  the  donkey's  back.  The  cat 
sprang  up  on  the  dog's  back,  and  the  cock  flew  up  on  top  of 
the  cat. 

When  thev  were  all  readv,  each  one  made  his  music  as  loud 


112  THE  STORY  IN  PRIMARY  INSTRUCTION. 

as  he  could.  The  donkey  brayed,  the  dog  barked,  the  cat 
mewed,  and  the  cock  crowed.  The  noise  they  made  was  so 
loud  and  strong  that  the  window  rattled  and  the  whole  house 
shook.  The  robbers  heard  the  noise  outside  but  could  not 
tell  what  it  was.  They  were  all  terribly  frightened.  One 
thought  it  was  the  police.  Another  cried,  "It  is  the  soldiers!" 
And  so  hallowing,  one  this,  the  other  that,  they  ran  pell 
mell  out  of  the  house  and  hid  in  the  woods.  Then  the  four 
friends  went  in  and  sat  at  the  robbers'  table  and  ate  and  drank 
until  they  were  satisfied.  Then  they  put  out  the  light  and  each 
one  found  a  comfortable  place  in  which  to  sleep.  The  donkey 
stretched  himself  out  on  some  straw  in  the  yard.  The  dog  lay 
behind  the  door.  The  cat  lay  down  by  the  hearth,  and  the 
cock  flew  up  on  the  rafter.  They  were  so  tired  after  their 
long  journey  that  they  were  soon  fast  asleep,  and  so  all  was 
quiet  in  the  little  house  in  the  woods. 

Model  Treatment. 

Where  did  the  auimals  plan  to  spend  the  night  ?  Tell  how  each  one 
made  ready  for  sleep.  Who  saw  the  light  ?  Why  did  they  go  toward  it  ? 
Who  peeped  in  ?  What  did  he  see  ?  Tell  how  the  animals  frightened  the 
robbers  away. 

In  what  stories  have  you  heard  of  a  cock  ?  Tell  how  the  cat  differs  from 
tlic  dog.  Of  what  use  are  cats  ?  How  do  they  catch  mice.?  Did  you  ever 
see  a  cat  sharpen  her  claws  ?     What  animals  are  like  cats? 

Why  did  the  robbers  live  in  the  forest  ? 

Why  were  they  so  easily  frightened  ? 

Why  did  they  think  of  police  and  soldiers  ? 


THE  STREET  MUSICIANS.  118 


III. 
Preparation. 

We  shall  now  learn  that  the  robbers  came  back  while  the 
four  musicians  were  asleep  in  the  house,  and  what  happened. 
Tell  where  each  animal  went  to  sleep.  What  do  you  think 
they  did  when  the  robbers  came  back?    Let  us  see, 

liarratiou. 

THE   BOBBERS   RETURN. 

The  robbers  did  not  go  very  far  away.  They  hid  in  the 
woods  and  watched  to  see  what  went  on  in  the  house.  Along 
about  midnight  one  of  the  robbers  said:  "See,  the  light  is 
out.  Perhaps  the  police  have  gone  away."  "Yes,"  said  all 
the  other  robbers,  as  they  looked,  "the  light  is  out." 

The  captain  of  the  robbers  then  sent  one  of  the  band  to  see 
if  all  was  safe.  He  stole  softly  through  the  woods  and  crept 
into  the  house.  When  once  in  he  saw  something  shining  in 
the  fireplace.  It  was  the  cat's  eyes,  but  he  thought  it  was 
two  coals  of  fire.  So  he  took  the  candle  from  the  table  and 
stooped  to  light  it  at  the  coals.  The  cat  at  once  sprang  at  him 
and  scratched  his  face  with  her  claws.  The  robber,  badly 
scared,  ran  out  of  the  house.  As  he  ran.  the  dog  awoke  and 
bit  him  in  the  leg.     The  donkey  kicked  him,  and  the  cock 


lU  THE  STORY  IN  PRIMARY  INSTRUCTION, 

cried  out,  "Cock — a — doodle — do."  Still  worse  frightened,  he 
ran  back  to  where  the  others  were  hiding. 

"Oh!"  he  said,  "I  wouldn't  go  back  there  for  the  world! 
There  was  a  terrible  old  woman  sitting  by  the  fireplace.  She 
scratched  me  with  her  long  finger  nails.  A  man  lay  behind 
the  door:  he  cut  me  in  the  leg  with  his  long  knife.  A  giant, 
who  was  lying  in  the  yard,  struck  me  with  his  great  club. 
Then  some  one  cried  out,  'Bring  a  rope  and  hang  the  thief.' 
So  I  ran  back  as  fast  as  I  could." 

When  the  other  robbers  heard  this  they  all  said,  "No,  it  is 
not  safe  to  go  back  there;"  and  they  went  away  to  another  part 
of  the  country.  The  four  musicians  liked  the  little  house  in  the 
woods  so  much  that  they  remained  there  all  the  rest  of  their 
days  in  joy  and  comfort. 

Model  Treatment. 

1.  Tell  where  the  robbers  went  when  they  ran  away.  Tell  what 
the  one  said  who  saw  that  the  light  was  out.  What  did  the  captain  then 
say?  What  did  the  cat  do  to  the  robber?  The  dog?  The  donkey?  The 
cock?  Tell  what  report  he  made  to  his  brother  robbers.  What  did  they 
then  do? 

2.  Why  did  the  robber  go  to  the  fireplace?  What  is  a  candle?  What 
do  we  use  in  place  of  candles?  A  long  time  ago  people  used  candles.  Of 
what  were  they  made?  What  is  burned  in  lamps?  Where  do  we  get  it? 
Where  do  we  get  gas?  Can  cats  see  better  than  dogs  or  donkeys  or 
chickens?    Where  do  cats  sleep?    Dogs?    Donkeys?    Cocks? 

Why  do  chickens  sleep  up  so  high? 
Why  are  robbers  afraid  of  police? 


THE  STREET  MUSICIANS. 


115 


What  are  policemen  f 

Wliat  is  their  duty?     Who  pays  policemen?     In  what  other  stories 
did  we  hear  of  a  fireplace?    (In  "The  Cock  and  the  Hen.")    Tell  about  it. 

Detail  of  Form  Work. 


MAKING. 

DRAWING. 

CUTTING. 

DRAMATIZATION. 

I. 

The  animals 
modeled       in 
clay. 

The     donkey,     the 
dog,  and  the  cat 
talking     to     the 
cock. 

The  four  animals 
on    their    jour- 
ney. 

The  meeting  of  the 
four  animals. 

11. 

The  robbers' 
house      (of 
paper). 

The    four   animals 
friehtening      the 
robbers. 

The  robbert   hid- 
den    in     the 
wood. 

The  four  animals 
in  the  forest  and 
frightening  the 
robbers. 

III. 

Candle     and 
Standard . 
(See      Worst, 
Ex.  86). 

The    robbers     run- 
ning away. 

Different     kinds 
of     lights    and 
receptacles    for 
lights. 

The  robber,  return- 
ing to  the  house 
and  frightened 
away  by  the  ani- 
mals. 

THE  STORY  IN  PRIMARY  INSTRUCTION. 

THE  STRAW,  THE  COAL,  AND  THE  BEAN. 

I. 

Preparation. 

The  story  of  a  straw,  a  coal,  and  a  bean.     How  they  met, 
how  they  started  on  a  journey,  and  what  happened  to  them. 
Children  imagine  how  they  could  meet. 

Narration. 

THE   MEETING. 

In  a  little  house  in  a  village  there  once  lived  an  old  woman. 
One  day  this  old  woman  went  to  her  garden  and  picked  some 
beans  for  her  dinner.  She  had  a  fire  on  the  hearth,  but  to  make 
it  burn  brighter  she  threw  on  a  handful  of  straw. 

One  of  the  straws  slipped  out  of  her  fingers  and  lay  on  the 
fioor.  As  she  threw  the  beans  into  the  pot  to  boil,  a  bean  fell 
on  the  floor  and  lay  quite  near  the  straw.  Suddenly  a  red-hot 
coal  bounced  out  of  the  fire  and  fell  close  to  the  straw  and  the 
bean. 

They  both  started  away,  calling  out,  "Friend,  do  not  come 
near  us  until  you  are  cooler.  What  brings  you  out  here?" 
"Oh!"  said  the  coal,  "the  heat  made  me  so  strong  that  I  was 
able  to  bounce  from  the  fire.     And  a  luckv  thine  it  was  for 


THE  STRAW,  THE  COAL,  AXD   THE  BEAN.  117 

me,  too,  for  if  I  had  stayed  there  I  would  surely  have  been 
burned  to  ashes." 

Then  the  bean  said,  "I  also  had  a  narrow  escape.  If  the 
old  woman  had  put  me  into  the  pot  w^th  the  others,  I  would 
certainly  have  been  boiled  to  death."  "It  was  a  good  thing 
for  me,"  said  the  straw,  "that  I  slipped  through  the  old  wom- 
an's fingers,  or  I  would  have  been  burned  with  the  others." 
And  so  the  three  talked  as  they  lay  on  the  hearthstone  to- 
gether. 

Sugri^estious. 

Recall  fireplace  in  other  stories.    Fire. 
Talk  of  straw,  its  uses,  how  obtained,  etc. 

II. 
Preparation. 

The  straw,  the  coal  and  the  bean  plan  to  go  on  a  journey. 
Their  troubles.  Children  give  reasons  for  going.  Imagine 
what  their  troubles  may  be. 

Explain  tailoi'. 

Narration. 

THE  JOURNEY. 

After  the  straw,  the  coal  and  the  bean  had  talked  together 
awhile,  the  coal  said,  "Well,  what  shall  we  do  now?"  "I 
think,"  said  the  bean,  "that  we  had  better  leave  this  place  as 


118  THE  STORY  IN  PRIMARY  INSTRUCTIOX. 

quickly  as  possible.  If  the  old  woman  sees  us  she  will  put  me 
into  the  pot."  "Yes,"  said  the  straw,  "that  is  a  good  idea.  Let 
us  go  quickly  and  travel  to  some  more  friendly  country."  So 
the  three  set  of¥  together. 

By  and  by  they  came  to  a  little  stream  over  which  there 
was  no  bridge.  They  were  puzzled  to  know  how  to  get  across. 
Finally  the  straw  said,  "I  will  place  myself  across  the  stream 
and  you  can  walk  over  me  as  if  I  were  a  bridge."  So  the  straw 
laid  himself  from  one  bank  to  the  other  and  the  coal  started  to 
trip  gaily  across.  But  when  he  reached  the  middle  he  heard 
the  waters  rushing  under  him.  He  became  frightened  and 
stood  still.  It  was  a  great  pity  that  he  did  this,  for,  as  he  was 
quite  hot,  the  straw  became  scorched.  It  broke  in  two,  fell 
into  the  water,  and  floated  away.  The  coal  fell  in  also  and, 
with  a  hiss,  sank  to  the  bottom  of  the  stream. 

The  bean,  who  had  remained  upon  the  bank,  saw  all  that 
had  happened  to  her  two  friends.  It  seemed  so  funny  to  her 
that  she  laughed  and  laughed  until  she  burst  her  skin.  She 
was  now  as  badly  off  as  the  others,  and  felt  very  sad  indeed. 

Just  then  a  tailor  came  along.  He  also  was  traveling  and, 
being  tired,  sat  down  on  the  bank  to  rest.  He  saw  what 
trouble  the  poor  bean  was  in.  Being  a  kind-hearted  man,  he 
took  a  needle  and  thread  out  of  his  pocket  and  sewed  up  the 
bean's  torn  skin.    And  from  that  day  to  this  every  bean  has  a 


THE  STRAW,   THE  COAL,  AND   THE  BEAN.  119 

scar  on  its  back,  showing  where  the  kind-hearted  tailor  sewed 
its  ancestor's  torn  skin. 

Suggestions. 

Bean;  uses;  how  prepared  for  food;  appearance;  where  obtained. 
Recall  similar  incident  in  "Death  of  the  Cock." 

Kindness  and  unkindness  of  friends  or  companions  as  shown  in  this 
story.  Recall  instances  of  the  same  traits  in  other  stories.  ("The  Death 
of  the  Cock";  "Birdie  and  Lena)." 

Kindness  and  unkindness  as  shown  to  strangers  in  this  story.  Recall 
examples  in  "The  Cock  and  the  Hen,"  "The  Death  of  the  Cock,"  "The 
Street  Musicians." 


r^ 


120  THE  STORY  IN  PRIMARY  INSTRUCTION. 


CINDERELLA. 

I. 

Preparation. 

The  story  of  a  rich  girl  who  had  to  serve  her  sisters;  of 
her  sisters'  unkindness;  of  kind  friends  who  helped  her,  and  of 
how  she  was  happy  at  last. 

Explain  serve  and  servant.    Talk  of  servants'  work. 

Narratiou. 

HOW  CINDERELLA  GOT  HER  NAME. 

Once  upon  a  time  there  was  a  girl  whose  father  and  mother 
were  rich.  They  lived  in  a  beautiful  house  and  had  everything 
that  they  could  want.  They  loved  each  other  very  much  and 
lived  happily  together. 

But  one  day  the  mother  became  very  sick  and,  as  she  grew 
worse  and  worse,  she  knew  that  she  was  going  to  die.  She 
called  her  daughter  to  her  and  said:  "My  child,  I  am  going 
to  leave  you.  When  I  am  gone,  remember  that  I  have  tried 
to  teach  you  to  be  good  and  kind  and  loving." 

The  daughter  promised  that  she  would  never  forget  what 
her  dear  mother  had  taught  her.  They  kissed  each  other  lov- 
ingly, and  not  long  after  the  mother  died. 


CINDERELLA.  121 

After  a  while  the  father  brought  a  new  wife  home.  He 
thought  that  this  lady  would  be  a  kind  mother  to  his  daughter. 

But  he  was  mistaken.  The  new  wife  was  not  at  all  kind. 
She  was  proud  and  bad-tempered.  And  she  had  two  young 
lady  daughters  who  were  even  worse  than  their  mother. 

One  day,  not  long  after  the  new  mother  and  sisters  had 
come  to  the  little  girl's  home,  they  were  all  sitting  together  in 
the  parlor. 

One  of  the  sisters  said:  "Mother,  must  we  have  her  sit- 
ting with  us  all  the  time?  We  don't  want  her  here.  Send  her 
into  the  kitchen  and  let  her  do  the  work."  And  the  mother 
said  to  the  little  girl,  "Yes,  go  into  the  kitchen  and  w^ork.  We 
do  not  want  you  here.     Go  quickly." 

So  the  daughter  of  the  house  went  into  the  kitchen  and 
began  to  work.  The  sisters  came  out  after  a  while  and  looked 
at  her  as  she  worked.  One  of  them  said,  "That  dress  is  alto- 
gether too  pretty  for  you ;  give  it  to  me."  The  other  sister  said, 
"Take  of¥  those  pretty  shoes  and  give  them  to  me."  She  gave 
her  pretty  shoes  and  dress  to  her  sisters,  who  threw  a  ragged 
old  dress  and  wooden  shoes  to  her  saying,  "Here,  take  these; 
they  are  good  enough  for  you." 

Then  they  said  to  her,  "Your  bedroom  is  too  nice  for  a 
girl  who  works  in  the  kitchen.  We  want  that  room  for  our- 
selves; you  may  sleep  here."  As  she  had  nowhere  else  to  sleep, 
the  poor  girl  slept  in  the  kitchen. 


122  THE  SrORY  IN  PRIMARY  INSTRUCTION. 

It  was  often  cold  there  at  night  after  the  fire  had  gone  out. 
So  she  would  creep  into  the  great  fireplace  and  curl  herself  up 
into  the  warm  ashes  and  sleep. 

Her  sisters  found  this  out.  But,  instead  of  being  sorry  for 
her,  they  laughed  at  her  and  called  her  Cinderella,  the  ash-girl. 


Suggrestions. 


Wooden  shoes. 
Unkindness  in  the  family. 


II. 
Preparation. 

Cinderella's  father  goes  to  a  fair  and  promises  to  bring  each 
one  a  present.    What  will  each  ask  for? 
Explain  fair.    Pearl  necklace. 

Narration. 

THE  FAIE. 

There  was  a  large  town  near  Cinderella's  home.  Every  year 
there  was  a  fair  in  this  town.  The  people  who  had  things  to 
sell  brought  them  to  the  fair. 

If  you  were  to  walk  through  the  streets  of  this  town  you 
would  see  booths  gaily  trimmed  with  flags  and  flowers  and 
the  branches  of  trees. 


CINDERELLA.  123 

There  were  many  pretty  things  for  sale  in  tliese  booths. 
There  were  silks  and  satins.  There  were  rings  and  bracelets 
and  necklaces;  and  there  were  toys  for  boys  and  girls. 

People  walked  about  looking  at  the  beautiful  things  in  the 
booths.  There  was  music  and  dancing,  and  everybody  was 
gay  and  happy. 

One  morning  Cinderella's  father  said,  "I  am  going  to  the 
fair.  I  will  buy  each  of  you  girls  a  present,  so  tell  me  what  you 
want."  The  oldest  one  said.  "O  papa,  bring  me  a  pretty  silk 
dress.  I  need  a  new  party  dress."  "Oh!"  cried  the  second 
sister,  "I  must  have  a  pearl  necklace.  Do  bring  me  a  beauti- 
ful pearl  necklace."  "Very  well,"  said  the  father,  "you  shall 
have  what  you  want."  Then  he  turned  to  Cinderella  and 
asked,  "And  what  shall  I  bring  you,  my  daughter?"  She  re- 
plied, "I  do  not  want  anything  from  the  fair,  father.  But 
please  bring  me  the  first  branch  that  touches  your  hat  as  you 
ride  home  through  the  forest." 

The  two  sisters  laughed  and  said:  "What  a  goose  you  are, 
Cinderella.  Why  don't  you  ask  for  something  nice?"  Her 
father  said,  "Yes,  daughter,  I  will  bring  you  anything  you 
wish  from  the  fair."  But  Cinderella  said,  "I  do  not  want  any- 
thing, father,  but  the  first  branch  that  touches  your  hat  as  yon 
ride  home  through  the  forest."  So  the  father  mounted  his 
horse  and  rode  off  to  the  fair. 


121  THE  STORY  IN  PRIMARY  INSTRUCTION. 

By  and  by  he  came  back;  and  sure  enough  he  brought  the 
silk  dress  and  the  pearl  necklace  to  the  sisters,  and  to  Cin- 
derella he  gave  the  branch  she  had  asked  for. 

She  took  the  branch  and  planted  it  on  her  mother's  grave. 
Every  day  she  watered  it  and  at  last  the  branch  grew  to  be  a 
fine  tree.  Its  roots  reached  down  into  the  ground.  Its 
branches  spread  out  on  every  side.  The  birds  came  and  built 
their  nests  in  it.  How  glad  Cinderella  was  to  see  her  tree 
growing  so  big  and  strong!  When  she  felt  sad  and  lonely, 
she  went  out  to  her  dear  tree  and  it  comforted  her.  The  birds, 
too,  were  her  friends.  She  talked  to  them,  and  brought  them 
crumbs  to  eat,  and  they  sang  their  sweetest  songs  for  her. 


Talk  of  planting  trees. 
Needs  of  such  plants. 
Treatment  of  birds. 


Suggestions, 

III. 
Preparation. 


Preparation. 

Cinderella's  sisters  go  to  a  ball.    Explain  king,  queen,  prince. 
ildren  give  their  idea  of  a  ball.    Will  Cinderella  go? 


Children  give  their 

Narration. 


THE   BALL. 

The  king  of  the  country  in  which  Cinderella  lived  had  a 
son.     When  this  son  was  twenty-one  years  old  the  king  said 


CINDERELLA.  126 

to  the  queen,  "Let  us  give  a  grand  ball  for  our  son.  We  will 
invite  all  the  beautiful  young  ladies  of  the  land  so  that  our 
son  can  choose  a  wife." 

The  king  and  queen  sent  out  invitations  to  the  ball  and 
Cinderella's  father  and  mother  were  invited  to  come  and  bring 
their  daughters.  The  ball  was  to  last  three  nights,  and  every- 
one expected  to  have  a  very  fine  time,  indeed. 

How  glad  Cinderella's  sisters  were  when  the  invitations 
came.  They  said,  "We  must  get  out  our  most  beautiful  dresses 
and  our  loveliest  ornaments;  and  you,  Cinderella,  must  help 
us." 

And  so  poor  little  Cinderella  had  to  run  to  and  fro  helping 
her  proud  sisters  to  get  ready  for  the  ball. 

At  last  the  day  of  the  ball  came.  Oh,  how  busy  Cinderella 
was!  She  had  to  brush  and  comb  her  sisters'  hair.  She  had 
to  sew  bows  on  their  slippers.    She  had  to  help  them  dress. 

"O  sisters,"  she  said  at  last,  "I  wish  I  could  go  to  the 
ball,  too.  I  would  like  to  see  the  king  and  queen,  and  the 
handsome  young  prince."  But  her  sisters  said,  ''Nonsense! 
Your  dress  is  too  ragged  and  your  shoes  are  too  clumsy.  You 
cannot  go." 

So  Cinderella  went  to  the  mother  and  asked  her  if  she 
might  go  to  the  ball.  The  mother  took  a  peck  of  seeds  and 
flung  them  out  into  the  backyard  where  they  fell  among  the 


126  THE  STORY  IN  PRIMARY  INSTRUCTION. 

ashes.  "Now,  Cinderella,"  she  said,  "if  you  pick  up  all  of 
those  seeds  in  an  hour,  you  may  go  to  the  ball."  Cinderella 
stood  in  the  yard  and  began  to  call,  in  her  soft,  sweet  voice: 
"Come,  little  pigeons  and  turtle  doves.  If  you  don't  help  me, 
what  shall  I  do?" 

Down  flew  the.  pigeons  and  the  turtle  doves  and  all  the 
birds  who  knew  and  loved  Cinderella.  Down  they  came  and 
set  to  work  to  help  her.  Pick!  pick!  pick!  with  their  sharp 
little  bills,  and  soon  all  the  seeds  were  out  of  the  ashes  and 
back  in  the  peck  measure  again. 

Then  Cinderella  ran  to  her  mother.  "See,  mother,"  she 
said,  "here  are  the  seeds.  Now  may  I  go  to  the  ball?"  But 
the  mother  said,  "No,  you  cannot  go;"  and  turning  her  back 
on  the  poor  girl  she  and  her  daughters  went  to  the  ball. 

Sug'^estions. 

Talk  about  pigeons  and  doves. 

Promise-breaking.    Recall  instances  of,  in  previous  stories. 

IV. 

Preparation. 

Talk  of  Cinderella's  wish  to  go  to  the  ball.  Difficulties  in 
the  way.    Children  imagine  how  she  might  be  able  to  go. 


CINDERELLA.  127 

Narration. 

HOW   CINDERELLA    WENT   TO   THE   BALL. 

After  her  mother  and  sisters  had  gone  to  the  ball,  Cinder- 
ella felt  very  lonely  and  sad.  She  sat  in  the  kitchen  for  a 
while.  Then  she  said  to  herself,  "I  will  go  out  to  my  dear 
tree;  perhaps  it  will  help  me." 

How  pretty  and  strong  the  tree  looked  in  the  moonlight. 
Cinderella  thought,  "Surely,  my  dear  tree  will  help  me."  Then 
she  said  aloud,  "Rustle  and  shake  yourself,  dear  tree.  Throw 
gold  and  silver  down  on  me."  And  what  do  you  think  hap- 
pened? Why,  the  tree  shook  its  branches  and  down  dropped 
such  lovely  things, — a  beautiful,  snow-white  dress,  all  trimmed 
with  gold  and  silver;  and  the  prettiest  little  slippers  in  the 
world. 

Oh,  how  glad  Cinderella  was!  You  may  be  sure  she  dressed 
herself  quickly  and  went  to  the  ball.  And  when  she  got  there 
she  was  the  prettiest  and  sweetest  looking  girl  in  all  that  great 
company.  The  prince  danced  with  her.  The  king  and  queen 
spoke  kindly  to  her.  They  also  said  to  one  another,  "She  is  a 
lovely  maiden,  so  sweet  and  gentle." 

Her  mother  and  sisters  did  not  know  her  at  all.  They 
never  thought  that  the  happy  looking  girl  in  the  beautiful  ball 
dress  was  their  Cinderella. 


128  THE  STORY  IN  PRIMARY  INSTRUCTION. 

When  it  grew  late,  Cinderella  stole  quietly  out  of  the  ball- 
room and  ran  home.  She  took  off  her  pretty  things  and  took 
them  back  to  the  tree.  Then  she  lay  down  in  her  bed  in  the 
ashes  and  was  soon  fast  asleep. 

When  her  sisters  and  their  mother  came  home  they  woke 
her.  "O  Cinderella!"  they  said,  "we  had  a  delightful  time. 
And  there  was  the  most  beautiful  girl  there!  She  wore  a  dress 
all  trimmed  with  gold  and  silver.  And  the  prince  danced  with 
her.  We  wondered  who  she  could  be."  Cinderella  laughed 
softly  to  herself,  but  she  said  never  a  word. 

The  second  night  of  the  ball  came.  Cinderella's  sisters  had 
kept  her  running  back  and  forth  waiting  upon  them;  but  at 
last  they  were  dressed. 

As  soon  as  they  and  their  mother  had  gone,  Cinderella  ran 
out  to  her  kind  friend,  the  tree.  Again  she  called  out,  "Rustle 
and  shake  yourself,  dear  tree.  Throw  gold  and  silver  down 
on  me."  And  down  fell  a  lovely  ball  dress,  prettier  even  than 
the  one  she  wore  the  night  before.  When  Cinderella  reached 
the  ball-room,  the  prince  was  waiting  for  her.  The  king  and 
queen  welcomed  her;  and  everyone  seemed  glad  to  see  this 
sweet-faced,  happy  maiden. 

How  happy  Cinderella  was!  She  forgot  all  about  her 
ragged  dress,  her  clumsy  wooden  shoes,  and  her  bed  in  the 
ashes.    She  was  the  happiest  of  all  in  that  great  ball-room. 

When  it  grew  late,  she  again  stole  quietly  away  and  ran 


CINDERELLA.  129 

home.  She  took  off  her  pretty  things  and  laid  them  down 
under  the  tree,  and  they  were  quickly  gone.  She  was  asleep 
when  the  sisters  came  home;  but  they  woke  her  to  help  them 
undress  and  to  listen  to  all  their  talk  about  the  ball. 

The  last  night  of  the  ball  came.  How  anxious  the  sisters 
were  to  look  as  fine  as  possible!  How  hard  they  made  Cinder- 
ella work  getting  them  ready!  How  cross  they  were  because 
their  dresses  were  not  handsome  enough,  and  how  gentle  and 
kind  dear  Cinderella  was  to  them! 

At  last  they  were  gone,  and  Cinderella  hurried  out  to  her 
tree.  Again  she  called  out  in  her  sweet  voice,  "Rustle  and 
shake  yourself,  dear  tree.  Throw  gold  and  silver  down  on 
me."  I  wish  you  could  have  seen  the  lovely  things  that  the 
tree  threw  down.  Such  a  beautiful  dress!  Such  dear  little 
slippers!  And  I  wish  you  could  have  seen  Cinderella  when  she 
was  dressed  in  all  those  pretty  things. 

The  prince  was  waiting  for  her.  He  took  her  by  the  hand 
and  lead  her  to  his  father  and  mother.  "See,  dear  father  and 
mother,"  he  said,  "this  is  the  sweetest  maiden  in  all  the  world. 
This  is  the  one  I  choose  to  be  my  wife." 

And  so  Cinderella  and  the  prince  were  married.  Cinderella 
lived  in  the  palace  the  rest  of  her  life,  and  never,  never  again 
slept  in  the  ashes. 

Sugrgestions. 

Gold  and  silver.  Appearance.  Uses  of.  Source.  Recall  mention  in 
other  stories. 

Patience  and  sweetness  under  trial. 


130  THE  STORY  IN  PRIMARY  INSTRUCTION. 


THE  WONDERFUL  TRAVELER. 

I. 

Preparation. 

I  am  now  going  to  tell  you  of  a  wonderful  traveler  that  had 
the  power  of  giving  to  each  one  whatever  he  wished.  I  will  tell 
you  how  night  overtook  him  on  a  journey  and  how  he  was 
refused  a  place  to  sleep  by  a  proud  man  who  lived  in  a  mansion, 
but  was  made  welcome  and  given  a  bed  and  food  by  a  kind, 
generous  man  who  lived  in  a  little  hut  near  the  mansion.  You 
will  hear  of  three  wishes  granted  and  what  each  one  wished  for. 

Do  you  remember  anyone  overtaken  by  darkness  while  on 
a  journey  in  our  stories?  Yes.  Star  Dollar  Girl.  The  Girl 
in  "Mother  Frost."  The  Cock  and  the  Hen.  The  Street  Mu- 
sicians. Tell  how  each  one  passed  the  night.  Where  have  you 
seen  a  traveler?  Our  story  happened  long  ago,  before  there 
were  railroads  and  before  there  were  many  inns.  Explain 
opposite. 

Narration, 

THE   TRAVELER. 

A  long  time  ago  there  was  a  wonderful  traveler  passing 
through  a  country.     He  was  tired,  footsore,  and  hungry.     It 


THE  WONDERFUL  TRAVELER.  13 j 

happened  that  night  overtook  him  when  he  was  a  long  way 
from  an  inn.    He  did  not  know  what  he  should  do. 

Finally,  as  he  trudged  along,  he  came  to  two  houses  stand- 
ing opposite  each  other.  One  was  large  and  beautiful,  the 
other  was  small  and  ugly.  The  large  house  belonged  to  a 
proud,  selfish  man;  the  other  to  a  modest,  generous  man. 

The  traveler  thought,  "Now,  I  would  not  be  a  burden  to 
the  man  who  lives  in  the  large  house  because  he  has  so  much 
room.  I  will  knock  at  his  door."  As  he  knocked  the  owner 
raised  a  window,  looked  out,  and  asked  of  the  stranger  what 
he  wanted.  The  poor  traveler  answ^ered,  "I  ask  only  a  place  to 
sleep  over  night."  The  proud  man  looked  the  stranger  over 
from  head  to  foot.  And  because  his  clothes  were  poor  and 
soiled  with  dust,  and  because  he  did  not  look  like  one  who 
had  money  to  pay  for  his  lodging,  the  owner  shook  his  head 
and  said,  "I  cannot  take  you  in,  for  my  house  is  full.  If  I 
received  into  my  house  everyone  that  came  along,  I  should 
soon  have  to  go  begging  myself.  Seek  elsewhere  for  your 
night's  lodging."  At  that  he  closed  the  window  with  a  bang, 
and  left  the  poor  traveler  standing  without  in  the  darkness. 

The  weary  traveler  then  went  to  the  cottage  and  knocked 
gently  at  the  door.  Scarcely  had  he  knocked  when  the  gener- 
ous man  unlocked  his  door  and  cheerfully  called  out,  "Come 
in,  stranger,  and  pass  the  night  with  me.  It  is  now  quite  dark. 
You  can  go  on  your  journey  in  the  morning." 


132  THE  STORY  IN  PRIMARY  INSTRUCTION. 

This  welcome  pleased  the  traveler  and  he  went  in.  The 
good  man's  wife  took  him  by  the  hand.  "We  have  not  much," 
she  said,  "but  what  we  have  you  are  welcome  to."  She  then 
put  some  potatoes  on  the  fire  to  bake.  While  they  were  cook- 
ing she  milked  the  goats  so  that  there  might  be  a  little  milk  for 
the  evening  meal. 

Suggrestions. 

1.  Tell  of  the  two  houses  that  the  wonderful  traveler  came  to  on 
his  journey.  To  whom  did  the  houses  belong?  Why  did  the  traveler 
knock  at  the  door  of  the  mansion?  Who  ansv/ered  the  knock?  What 
was  said?  Why  did  the  proud  man  refuse  the  traveler  a  night's  lodging? 
Tell  the  words  he  used.  Where,  then,  did  the  traveler  turn?  How  was 
he  received  at  the  cottage?  Tell  what  was  said.  What  did  the  wife  say 
and  do? 

Reproduction. 

2.  What  animal  furnishes  us  milk? 

Where  are  cows  kept?    Who  brings  us  milk? 

3.  Do  you  like  it  that  the  traveler  was  refused  a  night's  lodging  at 
the  mansion?  What  should  the  owner  have  said  to  him?  Was  the  proud 
man  kind?  Was  he  friendly?  Do  we  always  Vv'elcome  strangers?  Would 
we  take  strangers  into  our  homes? 

4.  What  can  you  say  of  the  poor  man  and  his  wife?  What  shall 
we  say  of  them?  Were  they  generous,  kind,  hospitable?  (They  gave  the 
stranger  welcome  and  the  best  they  had.) 

5.  Why  did  the  proud  man  look  at  the  traveler's  clothes?  Who  else 
refused  to  keep  lodgers  over  night  because  he  thought  at  first  they  could 
not  pay?    (Landlord  in  "The  Cock  and  The  Hen.") 

II. 
Preparation. 

We  shall  now  learn  how  the  stranger  passed  the  night. 


THE  liVNDEKFUL   TRAl'ELER.  l^j 

and  of  three  wishes  he  granted  to  the  good  old  man  and  his 
wife.    What  do  you  suppose  the  good  people  asked  for? 

Narration. 

THE   KIND    MAN   GKANTS    WISHES. 

When  the  table  was  spread,  they  all  sat  down  and  ate.  The 
plain  food  tasted  good  to  them  because  they  were  all  happy. 
After  they  had  eaten,  and  bedtime  had  come,  the  good  woman 
said  to  lier  husband,  ''Let  us  make  for  ourselves  a  bed  of  straw 
on  the  floor  and  give  our  bed  to  the  traveler  so  that  he  may 
rest  well.  He  has  been  traveling  the  whole  day  and  must  be 
very  weary."  "With  all  my  heart,"  said  her  husband;  "I  will 
offer  our  bed  to  him."  Then  he  went  to  the  stranger  and  said 
to  him,  "We  want  you  to  sleep  in  our  bed  to-night.  You  are 
tired  and  you  can  rest  better  there." 

At  first  the  stranger  would  not  take  the  bed  from  the  old 
people.  But  they  would  not  take  no  for  an  answer,  so  finally 
he  consented  and  lay  down  for  the  night  in  the  comfortable 
bed.  The  two  old  people  made  a  bed  of  straw  on  the  floor. 
Early  the  next  morning  they  were  up.  They  cooked  their 
guest  a  breakfast  of  the  best  they  had. 

As  the  sun  shone  through  the  windov/  the.  traveler  arose, 
ate  his  simple  meal  with  the  good  man  and  his  wife,  and  was 
about  to  depart.  As  he  stood  in  the  door,  ready  to  go,  he 
turned  to  them  and  said,  "Because  you  are  so  good  and  hos- 


134  THE  STORY  IN  PRIMARY  INSTRUCTION. 

pitable,  you  may  make  three  wishes  and  I  will  fulfill  them." 

The  old  people  were  surprised  and  at  first  did  not  know 
what  to  say.  Then  they  wished  as  the  first  wish  that  they 
might  always  be  contented.  For  the  second,  that  they  might 
always  have  health  and  their  daily  bread.  For  their  third  wish 
they  did  not  know  what  to  wish.  But  the  wonderful  traveler 
looked  at  their  poor  little  house  and  said,  "Would  you  not 
like  to  have  a  new  house  as  your  last  wish?"  "Oh,  yes!"  they 
cried.  "A  new  house  would  please  us  best  of  anything."  The 
wonderful  traveler  then  gave  them  their  wish  and  changed 
their  old  house  into  a  new,  large  and  beautiful  one.  When  he 
had  done  this,  he  bade  them  good-bye  and  departed. 

Sugi^estions. 

1.  Why  did  the  food  taste  good?  What  offer  did  the  good  man 
and  wife  make  the  traveler?  Where  did  they  sleep?  What  did  the  won- 
derful traveler  ofifer  to  the  good  people?  What  was  their  first  wish? 
Their  second?    Their  third?     Reproduction. 

2.  Tell  in  what  ways  the  good  man  and  wife  were  kind,  generous, 
and  hospitable.  What  pleases  you  in  the  treatment  of  the  traveler?  Do 
you  like  the  three  wishes?  What  might  they  have  wished  for?  What  is 
it  to  be  contented?  Do  you  know  any  who  are  never  contented?  Who 
was  not  contented  in  "Mother  Frost"?  In  "The  Wolf  and  the  Fox"? 
In  "Cinderella"? 

III. 

Preparation. 

Let  us  hear  now  how  surprised  the  man  who  lived  in  the 
mansion  was  the  next  morning  when  he  saw  the  fine  new 


THE  WONDERFUL  TRAVELER.  135 

house  across  the  way,  and  how  he  found  out  about  the  three 
wishes.  Also  how  he  overtook  the  wonderful  traveler  and 
obtained  the  promise  of  three  wishes  for  himself. 

Narration. 

THE  PROUD  MAN  OVERTAKES  THE  TRAVELER, 

When  the  proud  man  arose  and  looked  out  of  his  window, 
imagine  his  surprise  to  see  a  beautiful  new  house,  with  red- 
tiled  roof  and  bright  windows,  where  the  ugly  little  hut  had 
stood  the  night  before.  He  called  his  wife  and  said,  "J^^st 
see  there!  How  could  it  have  happened?  Yesterday  evening 
the  ugly  Httle  hut  stood  there.  Now  there  is  a  beautiful  new 
house.     Run  over  there  quickly  and  learn  how  it  happened." 

The  wife  ran  over  to  the  new  house  and  inquired  of  the 
good  people  how  it  came  there.  The  generous  man  told  her  of 
the  wonderful  traveler  who  had  sought  a  night's  lodging  and 
who,  at  his  departure  the  next  morning,  had  granted  them 
three  wishes, — contentedness,  health  and  daily  bread,  and  a 
fine  new,  red-tiled  house. 

When  the  proud  man's  wife  heard  this,  she  hastened  back 
and  told  her  husband  all  that  had  happened.  The  man  said. 
"What  a  fool  I  am!  Had  I  only  known!  That  man  knocked 
at  our  door  last  night,  but  I  sent  him  away."  "Then,"  said  his 
wife,  "hurry,  get  on  your  horse!  You  can  overtake  him  and 
maybe  he  will  grant  you  three  wishes." 


136  THE  STORY  IN  PRIMARY  INSTRUCTION. 

So  the  proud  man  jumped  on  his  horse  and  rode  after  the 
traveler.  He  soon  overtook  him  and  said,  "I  hope  you  will 
forgive  me  for  not  letting  you  in  last  night.  I  went  to  find  the 
door  key  and  when  I  returned  with  it  you  had  gone.  When 
you  come  this  way  again,  you  must  stop  with  me."  "Yes," 
said  the  traveler,  "when  I  come  this  way  again  I  will  stop  at 
your  house." 

Then  the  proud  man  asked,  "May  I  not  also  have  three 
wishes  fulfilled  like  my  neighbor?"  "Yes,"  said  the  traveler, 
"you  may;  but  it  would  be  better  for  you  not  to  wish  for  any- 
thing." The  proud  man  replied,  "I  would  certainly  seek  out 
something  that  would  make  me  happy  if  I  only  knew  that  it 
would  be  given  me."  "Very  well,"  said  the  traveler,  "go  home 
and  your  three  wishes  shall  be  fulfilled." 

Suggestions. 

1.  What  did  the  inhospitable  man  see  over  the  way  the  next  morn- 
ing? Describe  the  house.  What  did  he  do?  Tell  what  he  said  to  his 
wife.  What  did  she  do?  Tell  what  th^  good  people  told  her.  Tell  what 
the  proud  man  said  when  his  wife  toi  him  how  it  happened.  What  did 
his  wife  tell  him  to  do?  Tell  what  che  proud  man  said  when  he  had 
overtaken  the  traveler.  What  did  he  ask  for?  Was  his  request  granted? 
Repeat  what  was  said. 

2.  What  are  tiles?  Where  are  they  placed  on  a  house?  What  are 
they  for?  Tell  the  names  of  the  different  parts  of  a  house.  (Foundation, 
cellar  or  basement,  first  story,  etc.)  Name  as  many  different  kinds  of  build- 
ings as  you  can.  (Schoolhouses,  churches,  store  buildings,  etc.)  Tell  of 
large  buildings  you  have  seen  and  what  they  were  used  for. 

3.  Did  the  good  man  and  woman  tell  the  truth  about  how  they  came 
to  have  a  new  house?    Did  the  proud  man  tell  the  truth  about  going  for 


THE  WONDERFUL  TRAVELER.  137 

the  key?  Why  did  he  try  to  deceive  the  wonderful  traveler?  Was  he 
truly  sorry  that  he  had  been  selfish?  Whose  conduct  pleases  you?  Was 
the  traveler  grateful  to  the  poor  people?  Why  do  you  think  he  granted 
the  same  favor  to  the  unkind  man?  What  did  he  say  when  he  told  the 
man  he  might  have  three  wishes  granted? 

4.  Who  deceived  in  "The  Seven  Little  Goats"?  In  "Red  Riding 
Hood"?  In  "Death  of  the  Cock"?  In  "Mother  Frost"?  How  were  they 
all  punished? 

Reproduction. 


IV. 

Preparation. 

iWe  will  next  learn  how  the  proud  man  had  his  wishes 
granted.    What  do  you  suppose  he  will  wish  for?    Let  us  see. 

Narration, 

THE   PEOUD   man's   WISHES. 

Now  that  the  proud  man  had  obtained  what  he  wanted, 
he  started  home  very  happy  and  began  to  think  what  he  would 
wish  for.  As  he  rode  along  he  let  the  bridle  reins  hang  loose 
on  the  horse's  neck.  All  at  once  his  horse  began  to  jump  and 
rear  upon  his  hind  feet.  His  master  patted  him  on  the  neck 
and  said,  "Be  still,  there."  But  the  horse  jumped  and  reared 
all  the  more.  At  last  the  master  became  very  angry  and  said, 
"I  wish  you  would  break  your  neck."  No  sooner  had  he 
spoken  the  words  than  his  horse  fell  backward,  broke  his  neck, 
and  died.    Thus  was  the  first  wish  of  the  proud  man  fulfilled. 

But  the  proud  man  was  very  careful  not  to  lose  anything, 


138  THE  STORY  IN  PRIMARY  INSTRUCTION. 

so  he  took  the  saddle  from  the  dead  horse,  threw  it  on  his 
back,  and  started  home  on  foot. 

"Now,"  he  thought,  "I  have  two  wishes  left."  In  this  way 
he  comforted  himself.  His  road  lay  through  deep  sand.  It 
was  noon.  The  sun  shone  hot  and  the  saddle  made  his  back 
sore.  This  made  him  sigh.  He  was  so  warm  and  uncom- 
fortable. He  had  not  yet  made  up  his  mind  what  to  wish.  He 
turned  many  things  over  in  his  mind.  "I  will  manage  it,"  he 
thought,  "so  that  there  will  be  nothing  more  in  all  the  world 
to  wish." 

Many  times  he  thought,  "Now  I  have  found  it."  But  pres- 
ently it  would  seem  that  his  wish  was  too  small.  Then  he 
began  to  think  of  his  wife  sitting  at  home  in  the  cool  house 
enjoying  herself.  This  made  him  out  of  humor  and,  without 
thinking,  he  said,  "I  wish  that  she  sat  there  at  home  on  my 
saddle,  and  could  not  get  free  from  it,  instead  of  its  being  here 
on  my  back!"  No  sooner  said  than  he  felt  the  saddle  disappear 
and  knew  that  his  second  wish  had  been  granted. 

Then  he  began  to  be  afraid  and  he  ran  toward  home  as  fast 
as  he  could.  He  wanted  to  get  home  and  sit  down  in  a  quiet 
room  and  think  what  he  would  ask  for  in  his  third  wish.  He 
wanted  to  wish  something  as  large  as  lie  could.  But,  as  he 
came  to  his  house  and  opened  the  door,  there  sat  his  wife  on 
the  saddle.  She  was  very  red  in  the  face,  and  very  angry,  and 
she  shrieked  at  the  top  of  her  voice. 


THE  WONDERFUL  TRAVELER.  139 

"Be  contented,"  said  her  husband.  "I  am  going  to  wish  you 
all  the  riches  in  the  world.  Just  be  quiet."  But  she  answered, 
"What  good  would  all  the  riches  in  the  world  do  me  if  I  have 
to  sit  on  this  saddle  always?  You  have  wished  me  on  it  and 
now  you  must  wish  me  off."  The  proud  man  must  now, 
whether  willing  or  not,  use  his  third  wish  to  get  his  wife  free 
from  the  saddle.  So  he  said,  "I  wish  you  may  get  off  the 
saddle." 

When  his  wife  stood  again  upon  her  feet  she  began  to 
scold  her  foolish  husband.  "You  are  very  silly  and  stupid," 
she  exclaimed;  "I  could  have  managed  it  much  better."  Thus 
the  proud  man  had  nothing  for  his  pains  but  anger,  scolding, 
and  a  dead  horse.  His  neighbors,  however,  lived  contented 
and  quiet,  but  happy,  till  the  end  of  their  days. 

Suggestious. 

1.  Tell  how  the  proud  man  started  home.  What  did  the  horse  do? 
Tell  about  the  man's  first  wish.  Tell  about  the  saddle.  What  put  him 
out  of  humor?  How  did  he  think  he  would  manage  his  remaining 
wishes?  Tell  about  his  second  wish.  Why  did  he  hasten  home?  What 
did  he  find  there?  Tell  about  his  third  wish.  What  did  his  wife  say  to 
him  when  she  regained  her  liberty?  What  had  he  for  his  pains?  How- 
did  his  neighbors  live? 

Reproduction. 

2.  Where  have  you  seen  a  horse  with  saddle  and  bridle  on?  What 
is  the  saddle  used  for?  The  reins?  How  is  the  saddle  fastened  on?  Do 
you  know  the  names  of  some  parts  of  the  horse's  harness?  I  will  tell 
you  some.  Here  is  a  picture  of  a  horse  with  harness  on.  [Show  picture.  1 
Tell  how  horses  are  used.  Which  is  more  useful,  a  horse  or  a  donkey? 
In  what  story  did  we  learn  of  a  donkey?  Which  do  we  like  better?  Do 
men  ride  donkeys,  too?    Tell  how^  we  should  care  for  our  horses. 


140  THE  STORY  IN  PRIMARY  INSTRUCTION. 

3.  Was  the  traveler  right  when  he  told  the  proud  man  it  would  be 
better  if  he  did  not  wish  at  all?  Why  did  he  fare  so  badly  in  his  wishes? 
Why  didn't  he  wish  better  things? 

Was  he  as  wise  as  his  neighbor? 

Was  he  as  happy? 


HANS  AND  THE  I'VUK  BIG  GIANTS.  HI 

HANS  AND  THE  FOUR  BIG  GIANTS. 

(Text  from  "In  Story  Land,"  by  Elizabeth  Harrison.) 

I. 

Preparation. 

The  story  of  a  boy  who  lived  in  the  country.  The  story 
tells  of  his  home  life,  how  he  went  away  to  work  in  a  great 
city,  how  he  wished  to  serve  a  lovely  princess,  and  how  four 
great  giants  helped  him.  First,  we  shall  hear  of  his  home  in 
the  country.  Talk  of  country  sights  and  sounds.  Children 
give  their  experiences. 

'  Narration. 

THE   HOME   IN   THE   COUNTRY. 

Once  upon  a  time  there  lived  a  little  boy  whose  name  was 
Hans.  His  home  was  in  a  village  where  the  tall  trees  shaded 
the  green  grass  that  grew  around  the  houses.  Hans  loved  his 
home  very  much.  He  loved  to  hear  the  birds  sing  and  to 
watch  them  fly  high  in  the  air,  and  he  often  threw  crumbs  upon 
the  ground  for  them  to  eat. 

He  loved  the  bright  red  and  blue  and  yellow  flowers  which 
grew  in  the  garden  behind  the  house.  He  delighted  in  sweet 
odors  which  came  all  unseen  from  their  verv  hearts.     So  he 


142  THE  STORY  IN  PRIMARY  INSTRUCTION. 

gladly  watered  them  when  they  looked  thirsty.  His  mother 
soon  taught  him  how  to  place  strong,  straight  sticks  beside 
the  weak  vines  so  that  they,  too,  could  climb  up  and  get  the 
sunlight. 

Hans  loved  the  dear  old  hens  and  their  downy  chickens 
that  were  not  afraid  to  peck  the  grain  out  of  his  hand.  In 
fact,  Hans  loved  everything  and  everybody  about  him,  from 
the  small  naked  worms  which  crawled  about  among  the  clods 
of  earth,  up  to  the  strange  and  beautiful  stars  which  shone  so 
high  above  his  head.  He  was  a  very  happy  little  fellow,  al- 
ways busy,  always  finding  something  to  do  for  somebody. 

Sugrgrestions. 

1.  Question  to  deepen  and  connect  the  story. 
Reproduction. 

2.  A  talk  about  gardens  and  flowers,  chickens  and  how  they  ar« 
cared  for.    Earth  worms,  their  habits,  appearance,  habitat,  uses. 

Explain  clods. 

3.  Kindness  to  dependent  creatures.  Recall  Cinderella's  kindness 
to  birds.    Kindness  of  Rose-red  and  Snow-white  to  animals. 

11. 
Preparation. 

How  Hans  helped  his  father  work  in  the  forest,  and  how  he 
left  home  to  work  in  a  big  city. 

Talk  of  work  in  a  forest  and  in  the  city. 


HANS  AND  THE  FOUR  BIG  GIANTS.  143 

Narration. 
LEAVING   HOME. 

By  and  by,  when  Hans  grew  to  be  a  tall,  strong  lad,  he  used 
to  go  with  his  father  to  the  forest  to  chop  wood  and  thus  help 
earn  money  which  went  to  buy  food  and  clothes  for  his  mother 
and  his  three  younger  brothers.  For  Hans'  father  was  poor, 
and  money  was  scarce  in  his  family. 

After  a  time,  when  Hans  had  grown  so  tall  that  you  and  I 
would  call  him  a  young  man,  his  father  said  to  him,  "Hans, 
my  boy,  it  is  time  now  that  you  started  out  to  hunt  some  work 
for  yourself.  Your  next  younger  brother  can  help  me  with  the 
wood-chopping  and  the  smaller  ones  can  help  the  mother  in 
the  work  about  the  house.  You  must  go  out  into  the  world 
and  learn  how  to  take  care  of  yourself;  and  perhaps,  some  day, 
you  may  have  to  take  care  of  your  mother  and  me,  when  we 
grow  too  old  to  work." 

So  Hans'  mother  packed  his  clothes  in  a  little  bundle;  and, 
as  she  kissed  him  good-bye,  she  said,  "Hans,  my  precious  son, 
always  be  brave  and  true,  and  the  good  God  will  take  care  of 
you."  Hans  then  bade  farewell  to  his  father  and  his  younger 
brothers  and  started  on  his  journey. 

Suggr^stions. 

1.  Question  to  emphasize  the  thought  of  the  story. 

2.  Reproduction. 

3.  A  talk  of  how  each  one  in  this  family  had  his  share  of  the  work. 
Talk  about  the  mother's  parting  words  to  Hans. 

Motto:     Be  hravc  and  true. 


144  THE  STORY  IN  PRIMARY  INSTRUCTION. 

III. 

Preparation, 

How  Hans  came  to  a  large  city  and  found  work  there. 
Talk  about  the  sights  and  sounds  of  a  great  city.  Recall  idea 
of  village.  Children  imagine  what  kind  of  work  Hans  looked 
for. 

Narration. 

HANS   IN   THE  CITY. 

Hans  walked  a  long  way  until,  by  and  by,  he  came  to  a 
great  city,  where  the  houses  looked  dingy  with  smoke  and  the 
rattle  of  the  carts  and  wagons  made  a  roaring  noise. 

After  a  time  he  found  some  work  in  the  shop  of  a  black- 
smith and,  although  the  work  was  grimy  and  rather  hard  to  do, 
Hans  used  to  like  to  see  the  sparks  fly  from  the  red-hot  iron 
every  time  he  struck  a  blow  with  his  heavy  hammer. 

He  was  very  proud  when,  at  last,  he  could  shape  the  iron 
into  a  fine  horse-shoe  almost  as  well  as  the  smith  himself. 
Hans  did  not  know  it,  but  this  very  work  was  making  his 
arms  grow  big  and  strong,  and  his  chest  broad  and  full. 

Su^gfestions. 

1.  Question  to  deepen  and  connect  the  story. 
Reproduction. 

2.  Country  and  city.    Blacksmith  work. 


HANS  AND  THE  FOUR  BIG  GIANTS.  146 

Iron;  things  made  from  iron;  qualities  and  source  of  iron. 
3.     Determination  and  industry  of  Hans. 
Recall  examples  of  industry  and  laziness  in  other  stories. 
Motto:     Try,  try  again. 

IV. 

Preparation. 

Hans  sees  a  lovely  princess  and  wishes  to  serve  her.  He 
goes  to  her  father's  palace. 

How  could  Hans  serve  a  princess? 
Recall  explanation  of  princess  and  palace. 
Explain  governor,  provinces,  enchanted. 

Karration. 

THE   king's  palace. 

Every  day  Hans  used  to  see  a  beautiful  princess  drive  past 
the  blacksmith's  shop.  She  was  the  most  beautiful  princess 
in  the  world;  and,  although  her  blue  eyes  and  golden  hair 
were  admired  by  everyone,  she  was  chiefly  beloved  because  of 
her  sweet  smile. 

Hans  used  often  to  say  to  himself,  "How  I  wish  I  could 
serve  this  lovely  princess."  At  last  one  day  he  went  to  the 
palace  gate  and  asked  the  gate-keeper  if  there  was  not  some 
work  in  the  palace  which  he  could  do.  "What  can  you  do?" 
asked  the  gate-keeper.  "I  am  willing  to  do  any  kind  of  work 
which  the  king  may  need  to  have  done,"  answered  Hans. 


146  THE  STORY  IN  PRIMARY  INSTRUCTION. 

Then  the  gate-keeper  passed  him  on  to  the  keeper  of  the 
king's  palace.  "What  can  you  do?"  asked  the  keeper  of  the 
king's  palace,  also.  "I  am  willing  to  do  any  kind  of  work 
which  the  king  may  need  to  have  done,"  replied  Hans.  So 
the  keeper  of  the  palace  told  the  king  that  there  was  a  strong, 
tall  young  man  without  who  wanted  to  serve  him. 

When  Hans  came  into  the  presence  of  the  mighty  king, 
the  monarch  looked  at  him  very  hard  for  a  few  moments  and 
then  said,  "What  can  you  do,  young  man?"  And  again  Hans 
replied,  "I  am  willing  to  do  anything  that  you  need  to  have 
done.  I  would  like  to  serve  the  lovely  princess."  "You  would, 
would  you?"  cried  the  king.  "Now,  I  will  test  you.  In  the 
bottom  of  the  North  Sea  there  lies  a  string  of  enchanted 
pearls.  If  you  will  get  those  pearls  and  bring  them  to  me, 
you  shall  serve  my  daughter,  the  princess,  and  in  time  I  may 
make  you  governor  over  one  of  my  provinces, — who  knows?" 
And  the  king  laughed  to  himself.  Hans  was  wild  with  delight 
and,  turning,  hastened  out  of  the  palace. 

Suggestions. 

I.     Question  to  deepen  and  connect  the  story. 
Reproduction. 
.     2.    Talk  of  sea. and  the  North  Sea;  of  pearls. 

3.  Hans'  ability  to  do  hard  work.  The  value  of  being  able  to  work. 
Courageous  disposition, 


HANS  AND  THE  FOUR  BIG  CIANTS.  147 


Preparation. 

Hans  starts  on  his  journey  and  meets  a  giant,  who  helps 
him  on  his  way. 

Talk  of  possible  ways  in  which  Hans  may  journey. 

Narration. 

HANS  STARTS  ON   HIS  JOURNEY. 

The  very  next  day  Hans  started  on  his  journey  to  the 
North  Sea.  He  walked  a  long  ways,  and  until  he  was  very 
tired.  At  length,  just  ahead  of  him  he  saw  a  big  giant  rushing 
along  in  a  very  strange  fashion. 

"Good  morning,"  said  Hans,  as  he  caught  up  with  the 
giant.  "What  a  very  large  giant  you  are!"  "Yes,"  replied 
the  giant,  looking  down  at  Hans,  "I  have  need  to  be  both 
large  and  strong.  Where  are  you  going,  young  man?"  "I 
am  going,"  answered  Hans,  "to  the  North  Sea,  to  get  a  string 
of  enchanted  pearls  which  lies  at  the  bottom  of  the  sea."  "Ah!" 
said  the  tall  giant,  "it  will  take  a  long  time  to  get  there.  Now, 
if  you  could  walk  as  fast  as  I  can,  it  would  be  an  easy  matter." 

"How  fast  can  you  walk?"  asked  Hans.  "I  can  walk 
faster  than  a  greyhound  can  run,"  said  the  giant,  "and  when  I 
run  swiftly,  a  river  cannot  keep  pace  with  me."    "Can  you, 


148  THE  STORY  IN  PRIMARY  INSTRUCTION. 

indeed?"  exclaimed  Hans;  "what  a  fine  fellow  you  are!  I 
wish  you  would  come  along  with  me.  After  I  find  the  string 
of  pearls  I  want  to  get  back  to  the  king's  palace  as  soon  as 
possible,  for  I  am  to  serve  the  beautiful  princess."  "If  that's 
the  case,"  said  the  giant,  "I  think  I  will  go  along  with  you." 
And  the  two  went  along  together. 

Sug^gestious. 

1.  Question  to  deepen  the  story. 
Reproduction. 

2.  Talk  of  different  modes  of  travel  known  to  the  children. 

3.  Hans*  politeness  to  strangers.     Friendliness. 


VI. 

Preparation. 

Hans  meets  another  giant  who  offers  to  help  him.  Recall 
the  first  giant  and  his  aid.  Children  imagine  who  the  second 
giant  may  be. 

Narration. 

HANS  MEETS  A  SECOND  GIANT. 

Hans  and  the  first  giant  went  along  together  until  they 
saw  what  Hans  thought  must  be  a  huge,  round  stone  lying  in 
the  road.  When,  however,  they  came  up  to  it,  he  saw  that  it 
was  another  big  giant  lying  asleep  by  the  roadside.    The  hot 


HANS  AND  THE  FOUR  BIG  GIANTS.  U9 

sun  was  pouring  down  upon  his  face.  "Stay  here,"  said  Hans, 
"until  I  can  cut  a  branch  from  some  tree  to  shade  that  poor 
fellow's  face.    The  sun  is  so  hot  it  will  soon  blister  him." 

At  these  words,  the  first  giant  laughed  aloud.  "Ho,  ho!" 
he  cried,  "don't  you  know  who  that  is?  He  is  a  neighbor  of 
mine.  He  has  such  strong  eyes  that  he  can  see  a  fly  on  a  leaf 
of  a  tree  a  mile  away." 

The  loud  laugh  of  the  first  giant  awoke  the  sleeping  giant, 
and  he  opened  his  great  eyes  and  stared  at  Hans.  "What 
are  you  doing,  young  man?"  growled  he.  "Oh,  nothing," 
said  Hans;  "I  was  merely  sticking  these  branches  into  the 
ground  so  that  they  might  keep  the  sun  out  of  your  face." 
"Bah!"  cried  the  great  giant,  sitting  up.  "Did  you  not  know 
that  my  eyes  are  so  strong  that  I  could  look  the  noonday  sun 
straight  in  the  face?" 

"Indeed!  Indeed!"  said  Hans;  "what  a  wonderful  giant 
you  must  be!  I  wish  you  would  come  with  me.  I  may  need 
your  strong  eyes,  for  I  am  on  my  way  to  the  North  Sea  to 
search  for  an  enchanted  necklace  of  pearls  which  lies  at  the 
bottom  of  the  sea."  "Oh,  ho!"  said  the  giant,  "if  that's  the 
case,  I  think  I  will  go  with  you."  So  Hans  and  the  two  big 
giants  walked  on  together.  ^ 

Sug-gestioni. 

I.     Question  to  connect  the  story. 
Reproduction. 


150  THE  STORY  IN  PRIMARY  INSTRUCTION. 

2.  Talk  of  things  that  magnify; — spectacles;  opera  glasses;  micro- 
scopes; telescopes.    Their  uses. 

3.  The  willingness  of  the  great  giants  to  help. 


VII. 

Preparation. 

Hans  meets  a  third  giant  who  goes  with  him  on  his  journey 
to  the  North  Sea. 

Recall  the  other  giants  and  their  work.  Children  imagine 
who  the  third  giant  may  be. 

Narration. 
HANS  MEETS  A  THIRD  GIANT. 

Hans  and  the  two  big  giants  went  on  together.  They  had 
not  gone  more  than  three  or  four  miles  when  Hans  spied  an- 
other great  giant  sitting  under  a  tall  tree. 

As  they  came  up  to  him  the  wind  blew  his  hat  oflf  his 
head.  "I  will  fetch  it  for  you,"  cried  Hans,  as  he  ran  forward 
after  the  hat.  But,  before  he  could  get  to  the  spot  where  the 
hat  lay,  the  big  giant  reached  out  his  long  arm  and  himself 
picked  up  his  hat  and  put  it  again  on  his  head. 

At  this  all  three  of  the  huge  giants  laughed.  "Didn*t  you 
know  that  he  is  the  giant  who  can  reach  five  hundred  yards?" 
asked  the  long-legged  giant.  "No,"  exclaimed  Hans,  clapping 
his  hands  with  delight.    "You  are  just  the  giant  I  need.    When 


HANS  AND  THE  FOUR  BIG  GIANTS.  151 

I  get  to  the  North  Sea  you  can  reach  down  to  the  bottom  of 
it  and  pick  up  the  enchanted  necklace  of  pearls.  Will  you  not 
come  and  help  me?"  The  new  giant  thought  for  a  minute 
or  two,  and  then  said,  "Oh,  yes,  I  will  go  along  if  I  can  be  of 
any  use  to  you." 

So  Hans  and  the  three  big  giants  started  gayly  forward 
on  their  journey  to  the  North  Sea. 

Su^rgrcstions. 

1.  Reproduction. 

2.  Talk  about  things  that  lilt.    Their  uses. 

3.  Obligingness.     Recall   instances   of  in   "Mother  Frost"   and   in 
"Snow-white  and  Rose-red"  stories. 


VIII. 
Preparation. 

Hans  meets  a  fourth  giant.     Who  can  this  giant  be? 

Narration. 

HANS    MEETS    A   FOURTH    GIANT. 

Hans  and  the  three  big  giants  had  not  gone  far  before 
Hans  saw  in  the  distance  another  giant  quietly  leaning  up 
against  a  very  large  rock.  He  seemed  so  deep  in  thought  that 
he  did  not  see  Hans  and  his  fellow  travelers  until  they  came 
near  to  where  he  stood. 

Hans  noticed  that  both  of  this  giant's  ears  were  stopped 


152  THE  STORY  IN  PRIMARY  INSTRUCTION. 

with  cotton.  "Have  you  earache?"  asked  Hans.  "Perhaps  I 
can  do  something  to  ease  your  pain." 

"Oh,  no,"  said  the  giant,  "I  merely  stuffed  cotton  into  my 
ears  to  shut  off  some  of  the  sounds  about  me.  I  can  hear  so 
Vv'cll  that  I  can  tell  what  men  are  saying  a  hundred  miles  away 
from  me." 

"What  a  valuable  giant  you  must  be!"  exclaimed  Hans. 
"Will  you  not  come  with  us?  When  I  get  the  enchanted 
necklace  of  pearls,  you  can  tell  me  whether  it  will  be  safe  to 
take  it  back  to  the  king's  palace." 

The  giant,  being  very  good-natured,  said,  "You  think  you 
will  need  me,  do  you?  Well,  I'll  go  along."  So  Hans  and 
the  four  big  giants  walked  on. 

Su^g-estions, 

1.  Talk  of  things  that  help  us  hear: — speaking-tubes,  telephones,  etc. 

2.  Taking  time  to  be  kind.  Instances  in  other  stories  of  people 
stopping  to  do  a  kindness. 

IX. 
Preparation. 

The  story  tells  how  Hans  got  the  necklace,  how  the  giants 
helped  him,  and  how  he  carried  the  necklace  to  the  lovely 
princess. 

Recall  position  of  the  necklace.  The  children  imagine  how 
the  giants  aided  Hans. 


HANS  AND  THE  FOUR  DIG  GIANTS.  163 

Narration. 

HOW    HANS   GOT   THE   NECKLACE. 

Hans  and  the  four  giants  went  on  until  they  came  to  the 
North  Sea.  Then  they  got  a  boat  and  rowed  out  to  the  deep 
water.  The  giant  who  could  see  so  far  soon  found  the  place 
where  the  necklace  lay  on  the  sand  at  the  bottom  of  the  sea. 

Then  the  giant  whose  arms  were  long  reached  down  and 
picked  up  the  necklace  and  laid  it  in  the  boat. 

Hans  and  the  giants  now  rowed  back  to  the  shore.  As 
soon  as  they  had  landed,  the  giant  who  could  hear  so  well 
took  the  cotton  out  of  his  right  ear  and  listened  to  what  was 
being  said  at  the  king's  palace.  He  heard  the  people  in  the 
palace  talking  of  a  grand  festival  which  was  to  take  place  the 
next  night  in  honor  of  the  birthday  of  the  beautiful  princess. 

He  told  Hans  what  he  had  heard,  and  the  giant  who  could 
run  so  fast  stooped  down  and  let  Hans  climb  up  and  seat  him- 
self on  his  great  shoulders.  Away  the  two  sped,  faster  than  a 
bird  could  fly.  They  reached  the  palace  in  time  for  Hans  to 
give  the  enchanted  necklace  of  pearls  to  the  king,  just  as  he 
was  about  to  seat  his  beautiful  daughter  on  a  throne  beside  his 
own. 

The  king  was  so  pleased  to  get  the  necklace  that  he  at 
once  gave  Hans  the  office  of  serving  the  beautiful  princess. 
Hans  served  her  so  faithfully  that  she  learned  to  love  him 
dearly,  and  in  time  they  were  married. 


164  THE  STORY  IN  PRIMARY  INSTRUCTION. 

When  the  old  king  died,  Hans  was  made  king  and  the 
beautiful  princess  was  queen. 

Hans,  you  may  be  sure,  took  good  care  of  his  old  father 
and  mother,  and  both  he  and  his  queen  did  everything  they 
could  to  make  all  the  people  in  their  kingdom  industrious  and 
happy. 

Hans  persuaded  his  four  friends,  the  giants,  to  come  and 
live  in  his  kingdom  and  through  them  it  became  the  richest 
and  most  prosperous  country  on  the  face  of  the  earth,  so  thaPt 
travelers  came  from  all  over  the  world  to  visit  it. 

Suggr«stions. 

Question  to  deepen  and  connect  story.     Reproduction. 
A  talk  about  the  four  giants  and  their  work. 
Everyone  helps  him  who  helps  himself. 
Gratitude  to  and  loving  remembrance  of  parents. 


THE  FIR  TREE,  166 

THE  FIR  TREE. 
I. 

Preparation. 

The  story  of  a  little  fir  tree  that  grew  in  the  forest.  The 
story  tells  about  the  pleasant  home  this  little  tree  had,  and 
yet  that  it  was  discontented. 

Recall  idea  of  forest.    Explain  discontented. 

The  children  imagine  why  the  tree  was  discontented. 

Narration. 

IN  THE  FOREST. 

Far  away  in  the  forest  grew  a  pretty  little  fir  tree.  The 
sun  shone  on  this  little  tree.  The  birds  sang  to  it.  The  wind 
kissed  it.  Other  trees  grew  around  it.  The  forest  was  a  very 
pleasant  place,  and  yet  the  fir  tree  was  unhappy. 

It  wanted  to  be  tall  and  old  like  the  big  pines  and  firs  which 
grew  around  it.  Sometimes  little  children  came  with  baskets 
of  berries.  They  would  sit  upon  the  ground  near  the  fir  tree; 
and  as  they  ate  berries,  they  chatted  merrily.  "Is  this  not  a 
pretty  little  tree?"  they  would  say.  And  the  fir  tree  felt  more 
unhappy  than  ever  because  the  children  called  it  little. 

Yet  all  the  while  it  was  growing  taller  and  stronger.  Still, 
as  it  grew,  it  would  sigh  and  say,  "Oh,  how  I  wish  I  were  as 


156  THE  STORY  IN  PRIMARY  INSTRUCTION. 

tall  as  the  other  trees!  I  would  spread  out  my  branches  on 
every  side.  My  top  would  overlook  the  wide  world.  The 
birds  would  build  their  nests  m  my  branches,  and  when  the 
wind  blew  I  would  gracefully  bow  my  head." 

The  tree  was  so  discontented  that  it  took  no  pleasure  in  the 
warm  sunshine,  the  merry  birds,  or  the  rosy  clouds  that  floated 
over  it  morning  and  evening. 

When  winter  came  the  snow  lay  white  and  glistening  upon 
the  ground.  Then  a  frisky  hare  came  springing  along.  Right 
over  the  little  fir  tree  it  jumped,  and  oh,  how  vexed  the  little 
fir  tree  was!  Two  winters  passed  by.  When  the  third  winter 
came  the  tree  was  so  tall  that  the  hare  had  to  run  around  it. 
But  still  the  foolish  tree  was  discontented  and  said,  "Oh,  if 
I  could  only  be  taller  and  older!  There  is  nothing  else  I  wish 
for  in  all  the  world." 

Sugrgestions. 

A  talk  abotit  fir  trees  and  other  evergreens,  such  as  pine  and  hem- 
lock.   Compare  with  the  fir  tree. 

Recall  another  story  in  which  some  one  picked  berries.  ("Sweet 
Rice  Porridge.") 

Talk  of  berries.  Children  tell  of  their  experiences  in  picking  berries. 
Recall  mention  of  hare  in  another  story.    The  wind. 

Discontent. 


THB  FIR  TREE.  IW 

11. 
Preparation. 

The  story  tells  how  wood-cutters  came  to  the  forest  and 
cut  some  of  the  tallest  fir  trees. 

Recall  mention  of  wood-cutters  and  their  work.  The  chil- 
dren imagine  why  the  tallest  trees  were  cut  down. 

Narration. 

THE  WOOD-OUTTEK8. 

In  the  autumn  wood-cutters  came  to  the  forest  with  their 
shining  axes.  They  set  to  work  to  cut  down  some  of  the  fir 
tree's  tall  neighbors.  Chop,  chop,  chop,  how  their  axes  flew! 
And  crash!  the  great  trees  fell  upon  the  ground.  The  wood- 
cutters chopped  off  all  the  branches.  How  bare  and  straight 
the  trees  looked! 

*'I  wonder  what  will  happen  next,"  thought  the  fir  tree.  It 
soon  found  out,  for  all  these  bare  trunks  were  piled  upon 
wagons  which  were  drawn  out  of  the  forest  by  horses.  "Where 
can  they  be  going?"  thought  the  fir  tree.  "How  I  wish  I 
knew!    How  I  wish  I  were  going,  too!" 

In  the  spring,  when  the  swallows  and  the  storks  came 
back,  the  fir  tree  told  them  about  the  wood-cutters'  visit.  "Tell 
me,"  it  said,  "do  you  know  where  those  trees  were  taken?" 
The  swallows  said,  "We  do  not  know."    But  a  wise  old  stork 


168  THE  STORY  IN  PRIMARY  INSTRUCTION. 

nodded  his  head  and  said,  "Yes,  I  think  I  know.  I  met  some 
new  ships  as  I  flew  over  the  sea.  These  ships  had  tall  masts 
that  smelt  like  fir.    I  think  they  were  the  trees  you  spoke  of." 

"What  is  the  sea?  What  does  it  look  like?"  asked  the  fir 
tree.  "Dear  me,"  said  the  stork,  "I  cannot  stop  here  to  tell 
you.    I  must  go  on  to  my  home."    And  away  he  flew. 

"Cheer  up,"  said  the  happy  sunbeams  to  the  fir  tree.  The 
gentle  south  wind  kissed  it.  The  dew  watered  it.  But  still 
the  fir  tree  was  unhappy, 

Sugg-estions. 

Talk  about  swallows  and  storks.  The  return  of  the  birds  in  spring. 
The  sea.  Ships.  Where  seen  by  the  children.  Appearance  of  masts  and 
sails;  their  uses.     Other  uses  of  tall,  strong  trees. 


III. 
Preparation. 

The  story  tells  that  at  Christmas  time  the  men  came  to  the 
forest  and  cut  down  some  beautiful  young  trees.  The  children 
imagine  why  these  trees  were  cut  down  at  Christmas  time. 

Narration. 

OTHER  TBEES  GO  PROM   THE  FOBlBST. 

Christmas  time  drew  near  and  men  came  to  the  forest 
again.    This  time  many  voung  trees  were  cut  down.    These 


TUB  FIR  TREE,  159 

trees,  which  were  very  pretty,  kept  their  branches.  They  were 
laid  in  wagons  and  drawn  by  horses  out  of  the  forest. 

"Where  are  they  going?"  asked  the  fir  tree.  "They  are 
not  taller  than  I  am.  Indeed,  one  is  not  so  tall.  And  their 
branches  are  not  cut  off.    Where  can  they  be  going?" 

"We  know,  we  know,"  chirped  the  sparrows.  "We  have 
looked  in  at  the  windows  of  the  houses  in  town,  and  we  know 
what  is  done  with  those  pretty  young  trees.  They  are  dressed 
up  in  the  most  splendid  manner.  We  have  seen  them  standing 
up  in  the  middle  of  a  warm  room.  They  had  many  beautiful 
things  hanging  upon  them,  and  hundreds  of  gay-colored 
candles  were  fastened  to  the  branches." 

"And  what  happened  then?"  asked  the  fir  tree.  "We  did 
not  see  any  more,"  said  the  sparrows.  "I  wonder  if  anything 
so  fine  will  ever  happen  to  me?"  thought  the  fir  tree.  "Oh, 
how  happy  I  should  be!  I  wish  I  were  on  the  wagon,  or  stand- 
ing in  the  warm  room  with  all  the  brightness  around  me." 

"Be  glad  with  us,"  said  the  sunbeams.  "Be  glad,"  said  the 
sweet,  fresh  air.  But  still  the  fir  tree  was  discontented  and 
longed  to  leave  its  home  in  the  forest. 

Suggestions. 

Talk  about  sparrows;  their  appearance,  food,  habits,  etc. 
Reasons  for  being  glad. 


160  THE  STORY  IN  PRIMARY  INSTRUCTION. 

IV. 
Preparation. 

The  story  tells  how  the  fir  tree  at  last  got  what  it  had 
wished  for  so  long.  The  children  recall  the  fir  tree's  wish 
to  be  tall  and  old,  and  to  leave  the  forest. 

Narration. 

THE  FIB  TREE  HAS  ITS  WISH. 

One  year,  just  before  Christmas,  the  wood-cutters  came 
again  to  the  forest.  They  set  to  work  and  cut  down  the  dis- 
contented fir  tree  first  of  all.  It  was  laid  on  the  wagon  with 
other  trees  and  drawn  out  of  the  forest. 

The  fir  tree  had  its  wish.  It  was  leaving  its  home  in  the 
forest.  But  now  that  the  time  had  come,  its  heart  was  sad. 
It  knew  that  it  would  never  again  see  the  other  trees,  nor  the 
little  bushes,  nor  the  many  bright-eyed  flowers  that  had  grown 
around  it.  "Perhaps,"  said  the  tree,  "I  may  never  again  see 
my  friends,  the  merry  birds."    And  it  felt  very  sad,  indeed. 

On  it  was  carried  until,  at  last,  it  stopped  before  a  large 
house  in  the  great  city.  The  fir  tree  heard  a  man  say,  "We 
want  only  one  and  this  is  the  prettiest."  Then  two  servants 
came  and  carried  the  tree  into  a  large  and  very  beautiful  room. 
A  handsome  carpet  was  on  the  floor.    Pictures  hung  upon  the 


THE  FIR  TREE.  161 

walls.  Near  the  great  stove  stood  huge  china  vases  with 
lions  on  Iheir  lids.  There  were  rocking  chairs,  and  sofas 
covered  with  silks.  There  were  many  tables  loaded  with  pic- 
ture-books and  playthings.  The  fir  tree  was  set  up  in  a  tub 
full  of  sand,  but  a  green  cloth  was  hung  all  around  the  tub  so 
that  no  one  could  see  it. 

Soon  some  young  ladies  came  in  and  began  to  trim  the 
tree.  How  busily  they  worked!  How  pretty  they  made  the 
tree  look!  On  it  they  hung  little  bags  made  of  colored  paper. 
Each  little  bag  was  filled  with  candy.  Apples  and  gilded  nuts 
were  hung  on  it.  They  looked  as  if  they  were  growing  upon 
the  tree.  Dolls  that  looked  just  like  real  babies  were  laid  under 
the  lowest  branches.  Hundreds  of  red,  white  and  blue  tapers 
were  fastened  on  the  tree.  At  the  very  top  was  a  beautiful 
golden  star. 

"How  pretty  it  looks!"  said  the  young  ladies.  "How 
bright  it  will  look  to-night!"  "How  I  wish  that  the  night 
were  come  and  the  tapers  lighted,"  thought  the  tree.  "I  won- 
der if  the  sparrows  will  peep  in  at  the  windows  and  see  me!" 

At  last  night  came.  How  beautiful  the  tree  looked  with  all 
its  tapers  twinkling  like  tiny  stars  among  its  dark  green  leaves. 
All  at  once  the  door  was  opened.  In  rushed  a  troop  of  merry 
children.    How  they  shouted  and  clapped  their  hands  for  joy 


162  THE  STORY  IN  PRIMARY  INSTRUCTION. 

when  they  saw  the  beautiful  tree.    Then,  hand  in  hand,  they 
danced  around  it,  singing  a  sweet  Christinas  song. 
"Ah!"  said  the  fir  tree,  ''at  last  I  am  happy." 

A  talk  on  Christmas  trees. 

The  cause  of  the  fir  tree's  happiness. 


168 


ADDITIONAL  SUGGESTIONS. 


The  Stardollars. 


< 

MAKING. 

DRAWING. 

CUTTING. 

DRAMATI- 
ZATION, 

SONG  OR 
POEM. 

I. 

Each      child 
make     a 
model     o  f 
bis    own 
house,     of 
paper. 

The     cottage 
near     the 
great  forest. 

The    little 
girl  in  the 
held. 

Th«  little  girl 
leaving    her 
home. 

n. 

The   old    man 
and  the  child. 

Paper      doll 
dressed 
with  cloak 
and   hood. 

Th«  little  girl 
and  the   old 
man,     the 
poor     c  h  i  1- 
dren. 

in. 

The   woods  at 
night,  the 
child     lying 
under    the 
tree. 

A  poster,  the 
sky  of  dark 
blue  paper, 
trees      and 
ground 
black,  moon 
and  stars  of 
goldandsil- 
ver  paper. 

The  little  girl 
in  the  woods. 

Songs  "From 
the  bright  blue 
heavens,"  "Do 
you  know  how 
many  stars?" 

164 


THE  STORY  IN  PRIMARY  INSTRUCTION. 


Little  Red  Riding  Hood. 


< 

MAKING. 

DRAWING. 

CUTTING. 

DRAMATI- 
ZATION. 

SONG  OR 
POEM. 

I, 

Basket  of 
paper,   see 
Worst's 
ConBtrtic- 
tjon  Work. 

Red    Riding 
Hood     and 
her  mother. 

Paper  doll 
in  red  cloak 
and  hood. 

Red     Riding 
Hood   and 
her  mother. 

A    Little  Child. 
See   Songs   of 
the  Tree  Top 
and  Meadow. 

II. 

Basket  of 
raffia  brai- 
ed   or  wo- 
ven. 

Red   Riding 
Hood  meet- 
i  n  g     the 
Woll 

Wolf  and 
Red  Rid- 
ing Hood. 

Wolf      and 
Red    Rid- 
ing Hood, 
the  Wood- 
cutters in 
t  b  e  d  i  s- 
tance. 

III. 

Grand- 
mother's 
house  of 
paper. 

Red    Riding 
Hood      at 
her  Grand- 
mother's 
house. 

Wolf    in 
bed. 

THE  SWEET  RICE  PORRIDGE. 


165 


The  Sweet  Rice  Porridge. 


cu 

MAKING. 

DRAWING. 

CUTTING. 

DRAMATI- 
ZATION. 

SONG  OR 
POEM. 

I. 

Pots  and 
pans  of  tea 
lead. 

Little  girl  of- 
£  e  r  i  n  g  the 
bread  to  her 
mother. 

Paper  do  11, 
the    little 
girl. 

The  little  girl 
looking     for 
food,  bring- 
ing the  bread 
to   her    mo- 
ther. 

"Dear     Lord    in 

Heaven." 
The    Primer   by 

Eleanor  Smith. 

II. 

Model  pot  of 
clay. 

The  child  pick- 
ing berries. 

Paper   dolls, 
the  child 
and  the  old 
woman. 

The    old    wo- 
man   giving 
the  pot  to  the 
child. 

III. 

Model  plates 
of   clay, 
spoons    of 
tea  lead. 

Little  girl  and 
her  mother 
eating  the 
rice. 

Little  ^irl 
bringing 
the    w  o  n  - 
derful   pot 
home. 

The  little  girl 
brings   the 
pot    home, 
the  mother 
bids  it  cook, 
they  eat. 

IV. 

Cupboard  of 
Bristol    or 
strawboard 

The     children 
comi  n^  to 
eat  the  nee. 

Poster;  the 
ch  ildren 
coming   to 
•at  the  rice. 

The  little  girl 
takes    down 
the  pot,  eats, 
runs  out    in 
fright.     The 
children 
come. 

V. 

Mountains 
and  val- 
ley of  clay, 
or  in  sand, 
with  paper 
houses     in 
valley  and 
on     the 
mountain. 

The  little 
girl  r  u  n- 
ningupthe 
mountain. 

T.h  e  little 
girl  run- 
ning    to 
her  mother. 

The  little  girl 
telling  her 
mother.what 
she  has  done. 

166 


THE  STORY  IN  PRIMARY  INSTRUCTION. 


Mother  Frost. 


e- 

DRAMATI- 

SONG OR 

< 

MAKING. 

DRAWING. 

CUTTING. 

ZATION. 

POEM. 

Circular  wall 

of    well, 

Girl  by  the 

Paper  dolls, 
the  mother 

The  girl  spin- 

" Spin,     Lassie, 

modeled  in 

well  spin- 

ning loses 

Spin." 

I. 

clay,  buck- 

ning. 

and   her 

spindle,  runs 

ets     made 

daughters. 

to    her   mo- 

of    Bristol 

ther. 

board  and 

wire. 

Oven  and 

bread 

The     girl     at 

The   girl   at 

The   girl    and 

II. 

shovel     of 

the  oven. 

the     apple 

Mother 

Bristol  o  r 

tree. 

Frost. 

straw- 

board. 

The  mother's 

house   and 

Paper   dolls, 
Mother 

The  girl  part- 

"  Home,    Sweet 

the    hen 

The    girl    re- 

i  n  g  from 

Home." 

in. 

house 

turning 

Frost    and 

Mother 

with  fence 

home. 

the  indus- 

Frost  re- 

and trees 

trious  girl. 

turning 

(of  paper.) 

home. 

The  children 

The     children 

The  lazy  girl 

The  lazy  girl's 

IV. 

choose 

choose 

returning 

adventures. 

problem. 

the  subject. 

home. 

SNOW-WHITE  AND  ROSE- RED. 
SnoW'White  and  Rose-Red. 


Wi 


a. 

5 
MAKIKG. 

DRAWING. 

CUTTING. 

DRAMATI- 
ZATION. 

.SONG  OR 
POEM. 

I. 

Sew  work 
bag  of  cot- 
ton     cloth 
or  burlap, 
or     weave 
one  of  raf- 
fia. 

The     children 
working. 

Getting 
water    at 
the  spring. 

The    children 
getting 
breakfast, 
making    the 
fire,  etc. 

"The  Sweet  Red 

Rose." 
See  Songs  of  The 

Tree-Top    and 

Meadow. 

11. 

M  0  d  e  1  the 
animals  in 
clay. 

The     children 
feeding    the 
animals. 

The  animals. 

Playing  in  the 
woods. 

III. 

The  fireplace 
made    of 
paper  or 
straw- 
board. 

A  snowy  night 
in  the  woods. 
The    bear 
CO  m  i  ng  to 
the  house. 

The  mother, 
the   child- 
r  e  n    and 
the  bear. 

The  mother 
and  children 
by    the    fire. 
The  visit  of 
the  bear. 

IV. 

Model    in 
clay,  the 
dwarf 
with  the 
boy  on  his 
back. 

The     children 
and       the 
dwarf. 

A  poster,  in 
black, 
white    and 
blue  of  the 
dwarf  and 
the    child- 
ren in  the 
woods. 

The     children 
and     the 
dwarf. 

^ 

V. 

Things  seen 
on  a  river; 
row-boats, 
sail   boats, 
s  t  e  a  m- 
b  o  a  t  s— of 
paper. 

The     children 
coming  to 
help   the 
dwarf. 

Poster  of 
colored 
paper— 
dwarf 
fishing. 

The     children 
re  s  cu  ing 
the  dwarf. 

VI. 

Model  eagle 
in  clay. 

The     children 
in  the   open 
space,  eagle 
flying   over- 
head. 

The  eagle, 
the  dwarf, 
and    the 
children. 

vn 

Model    bear 
in  clay. 

The   d  w  a  r  £. 
the  children 
and  the  bear 

Paper    dolls, 
S   n  o   w  - 
White, 
Rose-Red 
and    the 
prince. 

168 


THE  STORY  IN  PRIMARY  INSTRUCTION. 


The  Cock  and  the  Hen. 


Pi 
< 

MAKING. 

DRAWING. 

CUTTING. 

DRAMATI- 
ZATION. 

SONG  OR 
POEM. 

1. 

A  wagon  Of 
paper. 
For  wagon 
box,  see 
Worst, 

The  cock  and 
hen  going  to 
the   moun- 
tain. 

The  Cock, 
Hen    and 
Duck    on 
the  moun- 
tain. 

The  Cock  and 
the  Hen  go- 
ing to  themt. 
m  a  k  i  n  g 
wagon, 
qu  arreling. 
The  Duck  as 
horse . 

Mr.  Rooster. 
Songs    of     the 
"Child  World." 
—Gaynor. 

II. 

Cock  and  Hen 
in    wagon 
drawn   by 
the  Duck. 

Cock   and 
Hen  meet- 
ing the  pin 
and  needle 

Meeting    the 
pin  and  nee- 
dle. 

III. 

House    with 
porch  of 
paper. 

Arriving  at 
the  inn. 

The    Cock 
and    Hen 
leaving  the 
inn. 

The  arrival  at 
the   inn,  the 
supper,    the 
events    of 
the  morning 

IV. 

Landlord's 
chair.    See 
Worst. 

The    landlord 
at   the    fire- 
place. 

Poster.    The 
landlord 
i   n     h  i   s 
room. 

The    landlord 
in  trouble. 

THE  DEA  IH  OF  THE  COCK. 


1G9 


The  Death  of  the  Cock. 


< 

MAKING. 

DRAWING. 

CUTTING. 

DRAMATI- 
ZATION. 

SONG  OR 
POEM. 

1. 

The     moun- 
tain    cock 
and  hen  in 
clay. 

The   hen  run- 
n  i  n  g     for 
water. 

The     cock 
and     ben 
going   to 
the  moun- 
tain. 

II. 

Wagon    of 
straw- 
board      or 
b  r  i  s  t  o  1 
board. 

The    little 
mice     draw- 
ing  the  wa- 
gon. 

The  animals 
who   came 
to     the 
c  o  c  k  s  ' 
funeral. 

III. 

Model    mice 
in  clay. 

The    hen,   the 
mice  and  the 
other  ani- 
mals  at  the 
river. 

The   proces- 
sion. 

170 


THE  STORY  IN  PRIMARY  INSTRUCTION. 


Birdie  and  Lena. 


< 

MAKING. 

DRAWING. 

CUTTING. 

DRAMATI- 
ZATION. 

SONG 
OR  POEM. 

I. 

Hunter's 
house 
among  the 
trees. 

The    hunter 
frightening 
the   eagle 
away. 

Hunter  with 
gun     and 
dog. 

The    hunter 
bringing 
Birdie  home. 

II. 

Birdie   and 
Lena    [play- 
ing. 

Posters.  The 
children 
at   play, 
swinging, 
j  umping, 
etc. 

Lena  and  Bir- 
die at  play. 

"The   Swing-."— 
R.  L.  Stevenson. 

III. 

Bed  of  paper 
See  Worst. 

The    children 
in  the  forest. 

Paper  'dolls, 
Lena  and 
Birdie. 

The    children 
leaving  the 
house  — hid- 
ing   in     the 
forest. 

IV. 

The  Rosebush 
and    the 
servants. 

The  servants 
and    the 
cook. 

The    servants 
finding   the 
rosebush;  re- 
turning to 
the  cook. 

V. 

Church  built 
of    blocks, 
made  of 
paper. 

The  church 
in  the  woods 

The  servants 
finding  the 
church. 

The    servants 
looking  for 
the  rosebush 
finding     the 
church. 

VI. 

Model  duck, 
in  clay. 

The   Duck   on 
the  pond. 

Poster.    The 
trees,     the 
pond,  the 
duck. 

THE  WOLF  AND  THE  FOX. 


171 


The  Wolf  and  the  Fox. 


< 

MAKING. 

DRAWING. 

CUTTING. 

DRAMATI- 
ZATION. 

SONG   OR 
POEM. 

I. 

Miniature 
farmyard 
in  sand  or 
on      paper 
foundation 
fence    of 
strips   of 
thin    wood 
or      paper 
sheep   and 
lambs      of 
clay    or 
paper. 

Wolf  and    fox 
in  the  forest. 

Wolf    and 
fox. 

The     meeting 
of    the    wolf 
and       fox 
stealing    the 
lamb.       The 
wolf  beaten. 

Nur.sery     song. 
See    Songs    of 
the  Tree    Top 
and    Meadow. 

II. 

Model-fry- 
ing pan  of 
ti  nl  e  a  d. 
dish       of 
clay. 

The  fox  at  the 
farm   house. 

The  wolf  at 
the      farm 
house. 

Going    to    the 
farm    house. 

III. 

Barrel    of 
paper . 

The   wolf  and 
fox  going  to 
the  cellar. 

The  fox  run- 
ning away 
from      the 
cellar. 

The  wolf  and 
fox  going  to 
the    cellar, 
eating       the 
meat.       The 
wolf  beaten. 
The  fox  run- 
ning away. 

172 


THE  STORY  IN  PRIMARY  INSTRLCTION. 


Cinderella. 


< 
a. 

MAKING.          DRAWING. 

CUTTING. 

DRAMATI- 
ZATION. 

SONG  OR 
POEM. 

I. 

The  kitchen 
furniture 
and   fire- 
place  of 
paper      or 
thin  wood. 

Cinderella 
sleeping    i  n 
the  hreplace. 

Paper   doll 
Cinderella. 

Cinderella  and 
her  sisters. 
Cinderella  in 
the  kitchen. 

11. 

The  fair. 

C  i  nderella's 
father  rid- 
ing to  the 
fair. 

The    father 
going  to  the 
fair ;    bring- 
i  ng   home 
the   gifts. 

"What  Robin 
Told."  See 
Songs  of  The 
Tree  Top  and 
Meadow. 

III. 

Pigeon 
house. 

Cinderella 
calling    the 
birds. 

The  birds 
helping 

Cinderella. 

Cinderella 
waiting     on 
her     sisters, 
calling  the 
birds;   the 
birds     help- 
ing her. 

The  Little 
Dovee. 

IV. 

The  ball. 

Paper  doll 
in    white 
and   gold 
and  silver. 

Cinderella  at 
the  tree,  a  t 
the  ball 

• 

THE  WONDERFUL  TRAVELER. 


178 


The  Wonderful  Traveler. 


MAKING. 

DRAWING. 

CUTTING. 

DRAMATI- 
ZATION. 

SONG  OR 
POEM. 

I. 

The      two 
houses     of 
paper. 

The     traveler 
at  the  proud 
man's  bouse. 

The  traveler 
at  the  kind 
man's 
house. 

The     traveler 
and       the 
proud   man . 
The  traveler 
and  the  kind 
man. 

II. 

Table       and 
chairs      of 
paper. 

The     traveler 
and  the  kind 
old      people 
at  supper. 

The  traveler 
taking 
leave   of 
the     old 
people. 

The     traveler 
and    the  old 
people. 

The       Friendly 

Cow. 
R.  L,  Stevenson. 

III. 

Different 
buildings 
talked      of 
by       the 
class. 

The     proud 
man     riding 
after     the 
traveler. 

The      proud 
man    talk- 
ing to  the 
traveler. 

The      horse. 
Songs   ot  The 
Child  World. 
Gaynor, 

IV. 

Model  horse 
in  clay. 

The     proud 
man    carry- 
ing saddle. 

The      proud 
man    run- 
ning  home. 

The    proud 
man  making 
bis     third 
wish. 

174  THE  STORY  IN  PRIMARY  INSTRUCTION. 

Hans  and  the  Four  Big  Giants. 


< 

MAKING. 

DRAWING. 

CUTTING           DRAMATI- 
CUTlllsu.           ZATION. 

SONG  OR 
POEM. 

1. 

Chicken 
coop, paper 
or  thin 
wood.  Hen 
and  chick- 
ens model- 
ed in  clay. 

Hans  work- 
ins  ia  ^b* 
garden . 

Garden 
tools. 

Hans     in    the 
garden . 

Wher%    do    the 
chickens      go 
at  night? 

HoltoH  Primer. 

n. 

The   little 
home 
among  the 
trees  (of 
paper.) 

Hans  and  his 
f  a  t  h  e  r 
chop  mg 
down 
trees. 

Hans     leav- 
ing home. 

Hans  working 
in  the  f  o  r- 
est,    leaving 
home. 

Song.      "Home, 
sweet  home." 

Vehicles 

.,,          used  in  the 

*^^'         city,  street 

carsitrains 

1      etc. 

Hans  in  the 
great  city. 

Things  used 
and    made 
in  a  black- 
smith 
shop. 

Hans  at  work 
in  the  black- 
smith shop. 

The  Blacksmith. 
Song  of  Iron. 
See  Songs   of 
the     Child 
World.—  Gay- 
nor. 

IV. 

L  o  comotive 
of  paper. 

Hans    and 
giant  loco- 
motive. 

Locomotive 
and     train 
of  cars. 

Hans      and 
giant     loco- 
motive. 

The  Tea-Kettle. 
See  Songs  of 
the    Child 
World.—  Gay- 
nor. 

V. 

Opera 
glasses    of 
paper. 

Hans    and 
the  second 
giant. 

Things   that 
magnify. 

Hans     and 
giant      loco- 
motive meet- 
ing the  third 
giant. 

VI. 

A  derrick  of 
thin   wood 
or     straw- 
board. 

Hans    and 
the     three 
giants. 

Giant 
Derrick. 

Hans    meet- 
ing   the    se- 
cond   giant. 

VII. 

Hans    and 
the   four 
giants. 

A    man    us- 
ing a  tele- 
phone. 

Hans  and  the 
fourth  giant. 

VIII. 

A   boat   of 
paper.  See 
Worst. 

Hans    and 
the   giants 
at      the 
North 
Sea. 

Hans    going 
back  to  the 
palace. 

At  the  North 
Se*.    At  the 
palace . 

THE  6TRA  IV,   THE  COAL  A  AD  THE  BEAN. 


178 


The  Straw,  the  Coal  and  the  Bean. 


t 

MAKING. 

DRAWING. 

CUTTING. 

DRAMATI- 
ZATION. 

SONG  OR 
POEM. 

I. 

The     pot, 
mod  e  1 1  e  d 
in      t  e  a  - 
lead. 

The    old    wo- 
man picking 
beans. 

The  old  wo- 
man at  the 
fire  place. 

II. 

Model       the 
fire     place 
it  clay. 

The    three 
friends      on 
their  jour- 
ing. 

The  tailor. 

UNF 


LB 
1527 
A43 
cop  .2 


li  ml  [{i  111  M  III    ill  illilllllill 

AA    001  119  065   9 


